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Journal articles on the topic 'Lyricists'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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1

Leont'eva, V. N. "Physicists and Lyricists Today." Russian Education & Society 39, no. 1 (1997): 62–68. http://dx.doi.org/10.2753/res1060-9393390162.

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2

Biryuk, Ihor, Oleh Korytsky, Iryna Kukovska, Tatyana Sykyrytska, Petro Kovalchuk, and Antonina Koritska. "Free lyricists of Bukovina, as bearers of a competitive worldview." Current issues of social sciences and history of medicine 30, no. 2 (2021): 55–59. http://dx.doi.org/10.24061/2411-6181.2.2021.268.

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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
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3

Soldevila i Balart, Llorenç. "Josep Maria Andreu: lletrista de la Nova Cançó." Zeitschrift für Katalanistik 8 (July 1, 1995): 153–71. http://dx.doi.org/10.46586/zfk.1995.153-171.

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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 cont
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4

Ranaweera, H. K. C. K. "The Use of Metaphors in Modern Sinhala Song (Based on Three Selected Lyricists)." Vidyodaya Journal of Humanities and Social Sciences 08, no. 02 (2023): 231–40. http://dx.doi.org/10.31357/fhss/vjhss.v08i02.16.

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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.
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5

Ignatova, M. P. "«Physicists» and «Lyricists»: two Cultures Yesterday and Today." Philosophy. Psychology. Pedagogy 15, no. 3 (2015): 17–20. http://dx.doi.org/10.18500/1819-7671-2015-15-3-17-20.

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6

Turenko, Vitalii. "PECULIARITIES OF THE SEMANTICS OF “FRIEND” AND “ENEMY”IN ARCHAIC LYRICS: A GENERAL DESCRIPTION." Studia Linguistica, no. 23 (2023): 52–61. http://dx.doi.org/10.17721/studling2023.23.52-61.

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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
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7

Muhadri, Besim. "Lasgush Poradeci the first modern Albanian poet and the greatest lyricist of the 20th century." Technium Social Sciences Journal 40 (February 8, 2023): 405–8. http://dx.doi.org/10.47577/tssj.v40i1.8393.

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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 studi
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8

Lichtmann, Curtis, and Barbara Lewis. "A Composer Teams with Student Lyricists to Make History Live." Music Educators Journal 72, no. 2 (1985): 37. http://dx.doi.org/10.2307/3396550.

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9

Gimpelson, V. E., and D. I. Zinchenko. "“Physicists” and “lyricists”: Whom the Russian labor market values higher?" Voprosy Ekonomiki, no. 8 (August 7, 2021): 5–36. http://dx.doi.org/10.32609/0042-8736-2021-8-5-36.

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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
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10

Havlicek, Franklin J., and J. Clark Kelso. "The Rights of Composers and Lyricists: Before and after Bernstein." Journal of Arts Management and Law 16, no. 2 (1986): 77–93. http://dx.doi.org/10.1080/07335113.1986.9943082.

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11

Getmanskaya, Elena. "Steam technologies in Western education: new approaches to literary text study." Revista Tempos e Espaços em Educação 14, no. 33 (2021): e16561. http://dx.doi.org/10.20952/revtee.v14i33.16561.

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The article deals with the Western concept of STEAM education which is based on a certain "poly-subject" which includes Science (S), Technology (T), Engineering (E), Arts (A), and Mathematics (M). The practice of this educational approach is focused on the following idea: a student who is familiar with the artistic principles of life (literature, art, music, design) will achieve more in Mathematics, Invention and Natural Sciences. STEAM eliminates the continuous dispute between "physicists" and "lyricists" because within its framework, a lyricist can be talented in engineering (invention) and
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12

Jones, Jill Tedford. "The delight of words: The Elizabethan sonneteers and American country lyricists." Popular Music and Society 24, no. 4 (2000): 63–77. http://dx.doi.org/10.1080/03007760008591785.

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13

Sukhodolov, Alexander, and Sergey Timofeev. "Alliance of «Lyricists» and «Physicists» in the Context of Digital Technology Application." Известия Байкальского государственного университета 28, no. 4 (2018): 570–75. http://dx.doi.org/10.17150/2500-2759.2018.28(4).570-575.

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Intellectual potential of modern society is determined by application of new types of thinking, by development of new kinds of activities and new technologies. One of the results of implementation/exploitation of this potential is establishment of Culture, Social Communications and Information Technologies Institute at Baikal State University. The possibility of bringing together humanitarian and mathematical education within one university section is substantiated in this article. Examples are given how efficient mathematical methods can be used for some liberal arts studies. Implementation p
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14

Ковальчук, А. В. "IN DEFENSE OF LYRICS: THE METHODOLOGICAL POTENTIAL OF POETIC TEXTS IN RUSSIAN LITERATURE CLASSES." Russkii iazyk za rubezhom, no. 3(304) (June 21, 2024): 27–31. http://dx.doi.org/10.37632/pi.2024.304.3.004.

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Статья посвящена поэтическим произведениям (лирике) как учебному материалу на занятиях по русской литературе для иностранцев. В качестве примера национальной группы приводится китайская аудитория и связанные с ней некоторые особенности работы. В статье обозначены аспекты методического потенциала поэтических текстов. В ней описаны стратегии работы с лирическими произведениями. The article is devoted to lyrical works as material for cognitive training in Russian literature classes for foreigners. It identifies aspects of the methodological potential of poetic texts. The article describes example
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15

Li, Xiaorong. "Engendering Heroism: Ming-Qing Women's Song Lyrics to the Tune Man Jiang Hong." NAN NÜ 7, no. 1 (2005): 1–39. http://dx.doi.org/10.1163/1568526054622341.

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AbstractThe heroic lyric had long been a masculine symbolic space linked with the male social world of career and achievement. However, the participation of a critical mass of Ming-Qing women lyricists, whose gendered consciousness played a role in their textual production, complicated the issue. This paper examines how women crossed gender boundaries to appropriate masculine poetics, particularly within the dimension of the heroic lyric to the tune Man jiang hong, to voice their reflections on larger historical circumstances as well as women's gender roles in their society.
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16

Cross, Keith, and Takako Fujioka. "Auditory rhyme processing in expert freestyle rap lyricists and novices: An ERP study." Neuropsychologia 129 (June 2019): 223–35. http://dx.doi.org/10.1016/j.neuropsychologia.2019.03.022.

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17

Fechner, Matthias. "The Unaccompanied: Poetic Expressions of the Working Classes in England." Anglica. An International Journal of English Studies, no. 32/3 (October 2023): 67–85. http://dx.doi.org/10.7311/0860-5734.32.3.05.

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Since the lost labour struggles of the mid-1980s, (working-class) poets like Carol Ann Duffy and Simon Armitage have progressively asserted their themes across the social strata. Hence, four of their poems are put to closer scrutiny. Especially Armitage’s verse mirrors a tendency in contemporary working-class poetry – frequently located in the North and the Midlands – to reflect on endangered traditions, with no small amount of nostalgia. Yet, its issues – solidarity, equality and historical consciousness – have also been taken up by black and female lyricists. Consequently, the poetry of the
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18

Oksana, Gela. "«Physicists» or «lyricists»?: display of the discussion of the 1960s. in the Soviet caricature." Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University. Series: History. 124, no. 28 (2019): 95–100. http://dx.doi.org/10.31652/2411-2143-2019-28-95-100.

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19

Taylor, Sharmila, and Kamna Sisodia. "HISTORY OF INNOVATION IN MUSIC, WITH REFERENCE TO DHRUPAD SINGING STYLE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3406.

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Changing the tradition of history is a natural process of nature. In the context of the Dhrupad singing style in the Indian classical music world, if we take a historical view, the practice of singing Dhruva and Prabandha songs before this style was prevalent. The ritual form of Dhruva songs is found in Sanskrit drama texts from pre- to late India. Dhruva has an important place in terms of song composition.Even in the exorcisms used in the puvarang before the Natyarambha, the Dhruvas have special importance due to the use of musical instruments. Originally, the verses of songs which are used w
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20

Peck, Ellen Marie. "‘Ah, Sweet Mystery’: Rediscovering Three Female Lyricists of the Early Twentieth-Century American Musical Theater." Contemporary Theatre Review 19, no. 1 (2009): 48–60. http://dx.doi.org/10.1080/10486800802547278.

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21

Sanders, Paul D. "Temperance Songs in American School Songbooks, 1865–1899." Journal of Historical Research in Music Education 38, no. 2 (2017): 178–208. http://dx.doi.org/10.1177/1536600616667602.

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The period from 1865 to 1900 proved to be one of tremendous growth for music education in the United States, as well as a time of renewed activity for the temperance movement. Numerous single-volume school songbooks were published, and several sources note the inclusion of temperance songs in these songbooks. By conveying the temperance message to school children, reformers both indoctrinated those children to temperance ideology and used them as intermediaries to convey the message of temperance to their parents and other adults. This study examines temperance songs included in sixty-seven sc
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22

Gajos, Mieczysław. "Le français « sauvage » dans les chansons d’Édith Piaf – un aperçu didactique." Neofilolog, no. 59/2 (December 30, 2022): 144–64. http://dx.doi.org/10.14746/n.2022.59.2.10.

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Édith Giovanna Gassion, known as Édith Piaf recorded more than three hundred songs. Her repertoire is as rich as her biography. Often, in the texts of Piaf’s songs, we can find some traces of her life, stories that she had told to her lyricists, who made use of them by suggesting that her songs qualified as realistic. While analysing the texts of Édith Piaf’s songs created between 1935 and 1963, we can identify the vocabulary belonging to the slang register. In the linguistic part of our article, we will try to present this lexicon. In the didactic part of our article we will look at the probl
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23

Tsuji, Sahoko. "‘Salute to Radio’: The self-reflexive artistry of Betty Comden and Adolph Green in Fun with the Revuers." Studies in Musical Theatre 14, no. 2 (2020): 149–61. http://dx.doi.org/10.1386/smt_00029_1.

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Betty Comden and Adolph Green are well-known librettists and lyricists of stage musicals and musical films; their artistic style and verbal expression are considered to bear urban witness to a period understanding of the 1940s and 1950s. Nonetheless, previous studies have scarcely investigated the aesthetic features of their dramaturgy, especially with regard to linguistic expression. This article focuses on the radio comedy Fun with the Revuers, for which they wrote scripts and lyrics. Through a close look at the scripts and sound recordings, it analyses the ‘interruptive sound and voice’ fun
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24

Tarantino, Mary. "UNCOVERING GEMS: THEATRICAL DESIGN COLLECTIONS AT THE WISCONSIN HISTORICAL SOCIETY." Theatre Survey 50, no. 2 (2009): 327–35. http://dx.doi.org/10.1017/s004055740999010x.

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The Wisconsin Center for Film and Theater Research (WCFTR), which is housed at the Wisconsin Historical Society in Madison, Wisconsin, and partners the historical society with the University of Wisconsin's Department of Communication Arts, was formed in 1960. It maintains a diverse collection of entertainment media, including collections of papers, audio and/or visual materials, and other creative documents such as scripts and designs. The majority of the WCFTR's collections feature film, radio, and television productions and various photographs and promotional material. The smaller theatre co
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25

Lofton, Kathryn. "Pausing on a Sunday: Sondheim and the Composition of the Secular in the American Musical." Modern Drama 65, no. 3 (2022): 355–80. http://dx.doi.org/10.3138/md.65-3-1199.

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The abundance of Bible story–based plots and preponderance of Jewish lyricists in musical theatre suggests religion should play a central role in its study. Yet religion is not a major theme in musical theatre criticism. This article suggests this silence is a symptomatic forgetfulness of the default secular operative in American musical theatre and its analysts in theatre studies. Focusing on Stephen Sondheim (1930–2021) as an artist of particular accomplishment within the raced, gendered, and religious aesthetic of the American musical’s secularism, it examines “Sunday,” the Act One closer t
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Brand, Benjamin. "SERMONS, HOMILIARIES AND PLAINSONG FOR THE NIGHT OFFICE: THE CASE OF STEPHEN THE PROTOMARTYR." Early Music History 41 (October 2022): 93–141. http://dx.doi.org/10.1017/s026112792200002x.

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While the great majority of Franco-Roman plainsong features lyrics adapted from the Bible, a long recognised but little studied minority sets excerpts from patristic sermons and commentaries. The antiphons and responsories for the night office on the feast of St Stephen are a case study of such literary borrowing. The lyrics of these chants feature a wide range of verbal debts and reminiscences from sermons written or inspired by Augustine, the majority of which were transmitted in the seventh-century Roman homiliary and thus recited as lessons at matins. Together, the plainsong and lessons de
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27

Felici, Andrea. "TRA STILE E NECESSITÀ. SU LINGUA E METRICA IN PAOLO CONTE E NELLA CANZONE ITALIANA D’AUTORE." Italiano LinguaDue 15, no. 2 (2023): 762–77. http://dx.doi.org/10.54103/2037-3597/21991.

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L’intervento analizza alcune scelte testuali di Paolo Conte in relazione all’annosa questione dell’italiano come lingua difficile da gestire in simbiosi con l’accompagnamento musicale: problema denunciato in più riprese dagli addetti ai lavori, che hanno evidenziato come la mancanza di un adeguato repertorio di parole tronche nella nostra lingua renda spesso problematica la gestione della struttura metrica del testo cantato.
 
 Between style and necessity. On language and metrics in paolo conte and the italian songwriting 
 The essay analyzes some textual choices by Paolo Conte
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28

Takho-Godi, E. A. "V. Solovyov’s aesthetic assessments of K.F. Fofanov’s lyrics. Part 1." Solov’evskie issledovaniya, no. 2 (June 30, 2023): 55–73. http://dx.doi.org/10.17588/2076-9210.2023.2.055-073.

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The article is devoted to Vl. Solovyov’s aesthetic evaluation of K.M. Fofanov’s works, well-known poet of the 1880s–1900s. The reconstruction of V. Solovyov's perception of the poet's lyrics was carried out, due to the philosopher's lack of a separate work on K.M. Fofanov. It allowed to establish Fofanov's place in Solovyov’s hierarchy of the leading lyricists of the second half of the XIX century (A.A. Golenishchev-Kutuzov, A.N. Maykov, Ya.P. Polonsky, A.K. Tolstoy, A.A. Fet) and reveal the connection between the aesthetic evaluation of Fofanov's creative work and the general attitude of the
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29

Heffernan, Clodagh. "“Taxpayers’ Money”: Subverting Anti-Welfare Sentiment through Irish Rap Lyrics." Estudios Irlandeses, no. 17 (March 17, 2022): 41–53. http://dx.doi.org/10.24162/ei2022-10719.

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Since the 1990s, working-class Irish hip hop MCs have criticised the Irish social welfare system through their rap lyrics. Like most global hip hop, Irish rap uses oppositional politics to offset the stigmatising ideas of class that are propagated by the dominant classes in society, especially negative stereotypes surrounding social welfare recipients. Although not recognised within literary Irish Studies, these lyricists are producing working-class counter-narratives to classist anti-welfare sentiment in Irish society through their poetic lyrics. This article draws from Irish and internationa
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Kosek, Jakub. "Transfigurations of the Emploi and Artistic Manifestations of Female (Heavy) Metal Singers." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 13, no. 2 (2021): 35–46. http://dx.doi.org/10.24917/20837275.13.2.3.

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The studies of (heavy) metal culture, the oeuvre of female artists, singers, lyricists, etc., still await in-depth interdisciplinary research endeavours. This article devoted special attention to female artists whose artistic, stage and image activities largely employ strategies of provocation, scandalisation, “ceremonial profanation.” When it comes to image (self)creation, an interesting category is the process of variability and fluidity of the emploi, especially in relation to subversive and transgressional activities. Wendy Orlean Williams, Heidi Shepherd and Carla Harvey from Butcher Babi
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31

Kovacs, David. "AEOLIC AND ITALIAN AT HORACE, ODES 3.30.13–14." Classical Quarterly 65, no. 2 (2015): 682–88. http://dx.doi.org/10.1017/s0009838814000767.

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dicar, qua uiolens obstrepit Aufiduset qua pauper aquae Daunus agrestiumregnauit populorum ex humili potensprinceps Aeolium carmen ad Italos 13deduxisse modos. Surely there is something puzzling about 13–14? What Horace was the first to do was to write Latin poetry using the metrical schemes of the Greek lyricists, principally Alcaeus and Sappho, who wrote in the Aeolic dialect of Lesbos. There can be no reasonable doubt that Aeolium carmen refers in the first instance to Horace's adoption of Aeolic metre. For deduxisse there are two possibilities, and conceivably Horace meant both to operate.
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32

Sanchis Mollà, Hèctor. "La riuada del Túria de 1897. Un motiu poètic per als renaixencistes valencians." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 20, no. 20 (2022): 65. http://dx.doi.org/10.7203/scripta.20.25850.

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Resum: Al s. xix, en català, gràcies a les possibilitats que permeté la Renaixença, es composen un conjunt de poemes al voltant dels estralls produïts per distints fenòmens naturals. L’objectiu del present treball és realitzar una aproximació a vuit composicions conreades per distints lletraferits valencians, les quals discorren al voltant del succés que commocionà la ciutat de València el 10 de novembre de 1897, el desbordament del riu Túria.Paraules clau: Renaixença, poesia, València, riuada TúriaAbstract: In the 19th century and, in Catalan, thanks to the possibilities offered by the Renaix
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DONG, Xiping, and Meng SONG. "On Interaction Between the Geisha from “He Gu” and Lyricists of Scholar-official in the Southern Song Dynasty." Research On Frontiers, no. 1 (January 28, 2024): 20–28. http://dx.doi.org/10.62978/2401dxp2028.

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With the decline of the Music Bureau, the performance spaces of “He Gu” geisha were no longer confined to traditional public places of entertainment (Goulan Wasi), such as the city streets and alleys, Instead, they increasingly appeared at banquets and social occasions attended by scholars and officials. There was an increase in interaction between scholars and officials and “He Gu” geisha, with scholars and officials providing various lyrics for the “He Gu” geisha to sing based on their needs, and the latter also seeking lyrics from the former for various reasons, which generally prospered th
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34

Azarenkov, A. A. "‘The sacred gang’. The discourse of the ‘metaphysical macho guy culture (patsanstvo)’ in Russian song lyrics." Voprosy literatury, no. 4 (August 19, 2021): 95–109. http://dx.doi.org/10.31425/0042-8795-2021-4-95-109.

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The article considers one of the methods of identity creation in a song used by lyricists in the early 21st c.: it involves a combination of profane language typical of an urban outcast (patsan, gopnik) and metaphysical, i. e. sacred, themes. Enjoying numerous representations in contemporary Russian visual arts, the discourse of the ‘metaphysical macho guy culture (patsanstvo)’ is also inseparable from the country’s literary tradition, which, however, is trying to marginalise it yet again and confine it to a song format. Analysing the poetic output of several Russian-speaking musicians (E. Lim
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MOSKOWITZ, MARC L. "Mandopop under siege: culturally bound criticisms of Taiwan’s pop music." Popular Music 28, no. 1 (2009): 69–83. http://dx.doi.org/10.1017/s026114300800161x.

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AbstractThis article examines the cultural biases embedded in critiques of Mandopop (Mandarin Chinese pop music). Contemporary commercialised Mandopop is generally recognised as beginning around 1980, drawing on musical traditions from the early twentieth century. In the 1980s and early 1990s, Taiwan’s popular music swept across China and many in the PRC government reacted to the values embedded in Taiwan’s lyrics with mistrust and disdain, expressing a fear that Taiwan and Hong Kong’s cultural incursion would result in the PRC’s loss of national identity. On the other side of the strait, peop
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36

Hofer, Amy R. "Sources: Women in American Musical Theatre: Essays on Composers, Lyricists, Librettists, Arrangers, Choreographers, Designers, Directors, Producers and Performance Artists." Reference & User Services Quarterly 48, no. 2 (2008): 204. http://dx.doi.org/10.5860/rusq.48n2.204.2.

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37

Dolby, William. "David R. McCraw: Chinese lyricists of the seventeenth century. xii, 193 pp. Honolulu: University of Hawaii Press, 1990. $24." Bulletin of the School of Oriental and African Studies 55, no. 1 (1992): 166–67. http://dx.doi.org/10.1017/s0041977x00003177.

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38

Bryan, Joseph D. "‘Recycling the past to meet immediate needs’: Bad Religion’s approach to history1." Punk & Post Punk 10, no. 2 (2021): 221–44. http://dx.doi.org/10.1386/punk_00083_1.

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With the release of their seventeenth album of original music (Age of Unreason, May 2019), Bad Religion has reminded the public that their brand of punk rock is not, and has never been, simplistic, reductive or dismissible. While the language of variegated scientific fields provides co-lyricists Greg Graffin and Brett Gurewitz a consistent trove of terms, concepts and imagery, Bad Religion also scrutinizes the past and draws out historical implications for their socio-political-religious commentary. Through an analysis of Bad Religion’s lyrics, especially focusing on Age of Unreason, this arti
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39

Thakur, Sayantan. "Vaishnava Philosophy and the Poetic Aesthetics: An Analysis of Jayadeva’s Gitagovindam." Tattva Journal of Philosophy 15, no. 2 (2023): 57–76. http://dx.doi.org/10.12726/tjp.30.4.

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Literature finds the best expression when literary aesthetics and philosophy run side by side. The former offers the external charm, while the latter inculcates the more profound implication with the aim of providing it with a superior stature and permanence. Jayadeva’s Gitagovindam, being a colossal work in the field of Vaishnava literature, does contain the brilliant juxtaposition of both. This article attempts to show how Jayadeva’s Gitagovindam, a colossal work in the field of Vaishnava literature, does contain the brilliant juxtaposition of both. On the one hand, like a typical lyrical po
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Diana Calderazzo. "Women in American Musical Theatre: Essays on Composers, Lyricists, Librettists, Arrangers, Choreographers, Designers, Directors, Producers, and Performance Artists (review)." Theatre Journal 61, no. 1 (2009): 153–54. http://dx.doi.org/10.1353/tj.0.0159.

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Lo, Andrew. "Chinese lyricists of the seventeenth century. By David R. McCraw. pp. xii, 193. Honolulu, University of Hawaii Press, 1990, US$24.00." Journal of the Royal Asiatic Society 1, no. 3 (1991): 457–58. http://dx.doi.org/10.1017/s1356186300001632.

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Volk, Terese M. "Little Red Songbooks: Songs for the Labor Force of America." Journal of Research in Music Education 49, no. 1 (2001): 33–48. http://dx.doi.org/10.2307/3345808.

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Since the early part of the twentieth century, there have been selected colleges in the United States dedicated to the training of future leaders for labor unions. Four of the most prominent are Work Peoples' College, Duluth, Minnesota; Brookwood College, Katonah, New York; Commonwealth College, Mena, Arkansas; and Highlander College, Monteagle, Tennessee. Education at these colleges, including music education, ran counter to the educational establishment of their time. Issues of labor versus management, traditional versus nontraditional education, and structured (formal) curricula versus prac
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S, Marithangam. "Virtue in Philosophical Songs of Kannadasan." International Research Journal of Tamil 4, S-19 (2022): 132–37. http://dx.doi.org/10.34256/irjt224s1920.

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Virtue promotes human beings intellectual and moral capabilities and shows how one should behave in society. Virtue can be defined as a set of behaviors accepted by a society. Virtues are not the same in all societies and it varies with time, belief and culture. So long virtue has long been explored from a religious perspective. Thiruvalluvar said that the books of virtue arose to talk about virtue. If we use the virtues in an orderly manner, we can become a better person in the society. Many books, articles, stories and theories have been written and published based on morality. In today's er
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Azizah, Nova Auliatul, and Bagus Wahyu Setyawan. "Analisis Kesalahan Penulisan Fonologi Bahasa Jawa Pada Lirik Lagu Satru 2 Karya Denny Caknan." ESTETIK : Jurnal Bahasa Indonesia 5, no. 2 (2022): 137. http://dx.doi.org/10.29240/estetik.v5i2.4757.

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Language errors are often not realized by readers and song lyricists on Youtube. This is because not all media users understand the rules of writing Javanese language properly and correctly. This study aims to analyze errors in Javanese writing in the lyrics of The Satru 2 song by Denny Caknan on the Denny Caknan youtube account channel uploaded in February 2022.this study uses qualitative descriptive research methods. In this study, the data sources used came from primary and secondary data sources. The primary data source is the lyrics of the song Satru 2 by Denny Caknan on Denny Caknan's Yo
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Koreneva, Marina Yu. "To the history of the collection “Georgian Romantics” (1940)." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2023): 164–70. http://dx.doi.org/10.20339/phs.6-23.164.

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The paper reconstructs the history of the publication of the collection of poems “Georgian Romanticists” (1940) published by Yu.N. Tynyanov, N.S. Tikhonov, M.L. Lozinsky using memoirs, letters of the translators and archival materials. Also, the creation of the myth of Georgian Romanticism is traced, as being apart from the literary reality, which was in no way connected with the European Romanticism, but corresponding to its specific Russian version. Particular attention is paid to the role of B.L. Pasternak who, refusing to participate in this collection, familiarized the Russian reader with
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Sperling, Valerie. "Russian feminist perspectives on Pussy Riot." Nationalities Papers 42, no. 4 (2014): 591–603. http://dx.doi.org/10.1080/00905992.2014.924490.

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While Pussy Riot's “Punk Prayer” and its aftermath constituted something of a turning point for Russia politically - as well as personally for the women imprisoned afterwards - it was neither the first nor last of Pussy Riot's endeavors. Among other things, their series of songs, published as video clips on the web, endorsed mass protest against the Putin regime, criticized state-sponsored homophobia, and praised feminism as a possible curative for Russia's many ills. In setting forth their ideas, however, Pussy Riot's lyricists made use of traditional masculine and feminine gender norms as we
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Williams, Richard David. "Salacious Songs: Khemṭā Dance and Participatory Printed Media in Nineteenth-Century North India". International Journal of Islam in Asia 3, № 1-2 (2023): 182–204. http://dx.doi.org/10.1163/25899996-20230017.

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Abstract Songbooks were an especially popular product in the colonial-era book industry of northern India. From cheap chapbooks to multi-volume tomes, collections of lyrics covered a range of tastes and genres, appealing to different social settings and performance practices. This article excavates the worlds of music-making invoked by these books through the case study of khemṭā. The khemṭā dancing girl was a low-status performer, associated with the playboy culture of early-nineteenth century Calcutta. Khemṭā lyrics were considered especially salacious and sensual, and the common view today
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Mak, Su Yin. "Wenn in Time: Linguistic Moments in Robert Schumann’s Dichterliebe." Kronoscope 14, no. 1 (2014): 51–70. http://dx.doi.org/10.1163/15685241-12341291.

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Abstract That song is both a concrete musical entity and an abstract metaphor for romantic subjectivity is the central paradox of musical lyricism. This paradox lends the lyric mode in music a self-consciousness that is, I believe, linguistic in character. It invites the listener to hear musical gestures both as signs that participate in the teleology of tonal discourse, and as sounds; and such sounds, in turn, are experienced viscerally at the same time that they serve as an abstract ideal of pure, natural expression. The present article examines, with reference to Schumann’s Dichterliebe, th
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Thebridge, Stella. "Musical AKAs: Assumed Names and Sobriquets of Composers, Songwriters, Librettists, Lyricists, Hymnists and Writers on Music2007292Edited by Jeanette Marie Drone. Musical AKAs: Assumed Names and Sobriquets of Composers, Songwriters, Librettists, Lyricists, Hymnists and Writers on Music. Lanham, MD and Plymouth: Scarecrow Press 2007. xvi+645 pp., ISBN: 978 0 8108 5739 1 £66 $100." Reference Reviews 21, no. 6 (2007): 44–45. http://dx.doi.org/10.1108/09504120710775589.

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Cerniglia, Ken, and Aubrey Lynch. "Embodying Animal, Racial, Theatrical, and Commercial Power in The Lion King." Congress on Research in Dance Conference Proceedings 2011 (2011): 3–9. http://dx.doi.org/10.1017/s0149767711000234.

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Disney stories and characters have delighted international audiences for nearly nine decades, but as The Walt Disney Company has sought to reach new markets in the twenty-first century, Disney's live theatrical productions have served a unique and powerful ambassadorial function in which body and representation play vital roles. In 1997, Julie Taymor's production of The Lion King, which is inspired by several cultural traditions, opened on Broadway to critical and popular acclaim. The musical has since been translated into six languages and has played in over a dozen productions around the wor
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