Academic literature on the topic 'Maxi Songs'
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Journal articles on the topic "Maxi Songs"
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Mushkina, Natalia. "SONGS-PRESENTATIONS IN THE FOLK-SONG CULTURE MARI." Финно-угроведение, no. 1 (2020): 134–42. http://dx.doi.org/10.51254/2312-0312_2020_61_12.
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Soetanty, Etik, and M. Shoim Anwar. "GAYA BAHASA DALAM LIRIK LAGU POP GAYA BAHASA DALAM LIRIK LAGU POPULER YANG DINYANYIKAN OLEH SYAHRINI." Buana Bastra 2, no. 1 (February 3, 2022): 75–81. http://dx.doi.org/10.36456/bastra.vol2.no1.a4992.
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The language style or known the Figure of Speech is an expression of feelings that have deep meaning for others. This research was conducted to look at the style of the language in the lyrics of popular songs by Syahrini. The analuses covered were stylistic repetition, alliteration, assonance, parallelism, “Simploke”, and redundancy. Analysis methods of this research used descriptive qualitative method. Based on the analysis of the lyrics of a popular song Syahrini explained that the style of repetitipn languange is a classification of words in a few times to amplify the pressure. We can see the lyrics of the songs, entitled: My Lovely, Aku Tak Biasa, Bohong, Kau Yang Memilih Aku, Semua Karena Cinta, Sesuatu, Cinta Tapi Gengsi, Pusing Setengah Mati, Aku Tak Biasa (Cover Alda) dan Kau Cetarkan Hatiku. While the other songs on the album are Tatapan Cinta, Kau Sengaja, Kau Sengaja, Sang Pencipta, Tak Terganti, Aku Pergi, Tak Memilih, Memilih Aku, Kau Bohong, Taubatlah Taubat, Ya Robbi, Cinta Terakhir, dan Jangan Memilih Aku. In the alliteration style is a kind of language style that is concrete use of the word tahat have teh begining of the same consonant. Analysis of language style of the lyrics songs by Syahrini is titled Kau Yang Memilih Aku, Sesuatu, Pusing Setengah Mati, dan Aku Tak Biasa (Cover Alda). Whereas in the others Syahrini song lyrics are entitled: Tatapan Cinta, Habislah Sudah, Sang Pencipta, Tak Terganti, Tak Memilih, Melewati Batas, Kau Bohong, Taubatlah Taubat, Ya Robbi, dan Jangan Memilih Aku. In stylistic assonance of vocal style is similar in the wording. In Syahrini song lyrics have stylistic analysis of a popular song titled: My Lovely, Aku Tak Biasa, Kau Yang Memilih Aku, Semua Karena Cinta, Sesuatu, Cinta Tapi Gengsi, dan Aku Tak Biasa (Cover Alda). According to other Syahrini song lyrics titled: Habislah Sudah, Sang Pencipta, Tak Terganti, Tak Memilih, Memilih Aku, Taubatlah Taubat, Cinta Terakhir, Suasana Dikota Santri. In the parallelism style is a confirmation of language pronunciation used to clarify a statement as the seriousness. In the Syahrini song lyrics have stylistic analysis of a popular song titled: Aku Tak Biasa, Bohong. “Simploke” is repeated word in the sentence at the beginning or end of the line or continued sentences. In the Syahrini song lyrics have stylistic analysis of a popular song titled: My Lovely, Aku Tak Biasa, Bohong, Kau Yang Memilih Aku, Semua Karena Cinta, Sesuatu, Cinta Tapi Gengsi, Pusing Setengah Mati, Aku Tak Biasa (Cover Alda), dan Kau Cetarkan Hatiku. While the lyrics of other songs titled: Kau Sengaja, Habislah Sudah, Tak Terganti, Aku Pergi, Melewati Batas, Memilih Aku, Kau Bohong, Taubatlah Taubat, Cinta Terakhir, Jangan Memilih Aku, dan Suasana Dikota Santri. Pleonasme is an excessive use of the word re-added the next sentence with a view to better of the meaning of the lyrics in a song. In the Syahrini song lyrics have stylistic analysis of a popular song entitled Bohong.
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Ranabumi, Raditya. "Metafora Pada Lagu Nyidham Sari dan Yen Ing Tawang ono Lintang." Ranah: Jurnal Kajian Bahasa 7, no. 2 (December 20, 2018): 247. http://dx.doi.org/10.26499/rnh.v7i2.659.
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The study of metaphors in semantics is indeed worth discussing in the world of linguistics, languages that are not straightforward make many people rethink to understand a meaning. In general, the metaphor is an expression of language to say something that lives for something else that lives, that lives for something that dies, something that dies for life, and something else that dies. When talking about keroncong songs in Indonesia, almost all songs mean straightforward. However, if it refers to the songs of Nyidam Sari and Yen Ing Tawang Ono Lintang, the work of artist Andjar Any seems to need to be studied more deeply because in the lyrics delivered there are a lot of visible metaphors. Based on this background, the purpose of this research is to understand the meanings implied in the two songs. In this study researchers used descriptive qualitative methods because the object of this research is the song contained in the text. Then, based on the results of the research that has been done, it can be concluded that 13 metaphors in both songs have been found, namely 4 nominative metaphors, 4 complementative metaphors, 4 predictive metaphors, and 1 calimative metaphors. Thus it has been answered that the meaning of some song lyrics was previously poorly understood by the general public.AbstrakKajian metafora dalam semantik memang layak untuk diperbincangkan dalam dunia linguistik, bahasa-bahasa yang tidak lugas membuat banyak orang berfikir ulang untuk memahami suatu makna. Pada umumnya metafora itu adalah ungkapan kebahasaan untuk mengatakan sesuatu yang hidup untuk sesuatu lainnya yang hidup, yang hidup untuk sesuatu yang mati, sesuatu yang mati untuk hidup, dan sesuatu yang mati lainnya yang mati. Jika berbicara tentang lagu keroncong di Indonesia, hampir semua lagu bermakna lugas. Akan tetapi jika mengarah pada lagu Nyidam Sari dan Yen Ing Tawang Ono Lintang karya seniman Andjar Any tampaknya perlu dikaji lebih dalam karena dalam lirik-lirik yang disampaikan banyak sekali metafora yang tampak. Berdasarkan latar belakang tersebut, tujuan penelitian ini adalah memahami makna-makna yang tersirat dalam kedua lagu tersebut. Dalam penelitian ini peneliti menggunakan metode kualitatif deksriptif karena objek penelitian ini adalah lagu yang tertuang dalam teks. Kemudian, berdasarkan hasil penelitian yang sudah dilakukan dapat disimpulkan bahwa telah ditemukan 13 metafora dalam kedua lagu tersebut, yaitu 4 metafora nominatif, 4 metafora komplementatif, 4 metafora predikatif, dan 1 metafora kalimatif. Dengan demikian terjawab sudah makna dari beberapa lirik lagu yang sebelumnya kurang dipahami masyarakat awam.
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Abukaeva, Lubov Alekseevna. "Representation of the Concept Jumo "God" in Mari Folk Songs." Ethnic Culture, no. 1 (1) (December 26, 2019): 40–44. http://dx.doi.org/10.31483/r-64071.
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The article is devoted to the analysis of the religious views of Mari, which are reflected in such genres of folklore as guest and wedding songs. The purpose of the article is to identify ways and means of representing the concept of humo «god» in Mari folk songs. Research methods: continuous sampling, comparative method, component analysis. Results, discussion. The following characters of the Mari pantheon are represented in the songs: the Bright God, the predecessor, the mother of God, the mother of the earth, the mother of wealth, the angel, the daughter of God, the prophet, the daughter of the prophet, the son of the prophet, and the bridegroom prophet. Conclusion. The content of folk songs also presents some stories from mythology, fragments of religious rites and the foundations of the creed of the Mari traditional religion.
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Glukhova, Natalia. "Colour Symbols in Mari Songs." Folklore: Electronic Journal of Folklore 64 (June 2016): 109–24. http://dx.doi.org/10.7592/fejf2016.64.glukhova.
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Kutsaeva, Marina Vasilevna. "Ethnic Musical Culture of Moscow Mari (I)." Ethnic Culture, no. 2 (3) (June 20, 2020): 24–30. http://dx.doi.org/10.31483/r-75842.
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The article deals with the problem of maintaining and preserving the ethnic musical culture of the Mari people in the conditions of the diaspora. The purpose of the article is to determine the prospects for preserving the ethnic musical culture of members of the Mari diaspora in the framework of integration processes in the multicultural Moscow region. Methods. The article is based on the data obtained when conducting a sociolinguistic survey in the Mari diaspora of the Moscow region; the selective sampling includes 100 respondents, all of them are natives of the Republic of Mari El or places of traditional compact settlement of the Mari ethnic group, currently living in Moscow or in the Moscow region. One of the aspects of the survey was to study the respondents’ language loyalty, which indirectly manifests itself in in the knowledge and observance of ethnic musical culture. In particular, the respondents were asked questions about the language or languages in which they are likely to sing or listen to songs, about the value and significance of Mari songs in their lives. Based on their answers, tables, reflecting the results, were drawn. Results. According to the results of the sociolinguistic survey in the Mari diaspora, a vast majority of the respondents (96%) listen to (and/or sing) songs in their ethnic language one way or another, under completely different circumstances and using a wide range of modern technologies and telecommunications. The representatives of the Mari Diaspora take an active part in various cultural and musical events, which are held not only within the framework of the ethnic Mari community in Moscow, but also on the private initiative of young Mari activists. The author concludes that the ethnic musical culture, which the members of the Diaspora maintain both independently and in groups, undoubtedly plays an important role in uniting the Moscow Mari people and attracting new members of the Mari Diaspora, it slows down assimilation processes and contributes to the preservation of their ethnic and cultural identity.
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Kutsaeva, Marina Vasilevna. "Ethnic Musical Culture of Moscow Mari (II)." Ethnic Culture, no. 3 (4) (September 29, 2020): 11–18. http://dx.doi.org/10.31483/r-75887.
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The article deals with the problem of maintaining and preserving the ethnic musical culture of the Mari people in the conditions of the diaspora. The purpose of the article is to determine the prospects for preserving the ethnic musical culture of members of the Mari diaspora in the framework of integration processes in the multicultural Moscow region. Methods. The article is based on the data obtained when conducting a sociolinguistic survey in the Mari diaspora of the Moscow region; the selective sampling include 100 respondents, all of them are natives of the Republic of Mari El or places of traditional compact settlement of the Mari ethnic group, currently living in Moscow or in the Moscow region. One of the aspects of the survey was to study the respondents’ language loyalty, which indirectly manifests itself in in the knowledge and observance of ethnic musical culture. In particular, the respondents were asked questions about the language or languages in which they are likely to sing or listen to songs, about the value and significance of Mari songs in their lives. Based on their answers, tables, reflecting the results, were drawn. Results. According to the results of the sociolinguistic survey in the Mari diaspora, a vast majority of the respondents (96%) listen to (and/or sing) songs in their ethnic language one way or another, under completely different circumstances and using a wide range of modern technologies and telecommunications. The representatives of the Mari Diaspora take an active part in various cultural and musical events, which are held not only within the framework of the ethnic Mari community in Moscow, but also on the private initiative of young Mari activists. The author concludes that the ethnic musical culture, which the members of the Diaspora maintain both independently and in groups, undoubtedly plays an important role in uniting the Moscow Mari people and attracting new members of the Mari Diaspora, it slows down assimilation processes and contributes to the preservation of their ethnic and cultural identity.
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Sujatmiko, Bagus, and Ropingi El Ishaq. "PESAN DAKWAH DALAM LAGU “BILA TIBA”." KOMUNIKA: Jurnal Dakwah dan Komunikasi 9, no. 2 (January 26, 2017): 181–95. http://dx.doi.org/10.24090/komunika.v9i2.848.
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Music is one of the media to deliver a message. Music can contain norms of life, one of which is message of da’wah. Music containing da’wah messages is commonly called Religious Music. In Indonesia, such music started in a the 70s by the legendary band Sam Bimbo with the song Sajadah Panjang, and Nasyida Ria Nasyid group with the song Perdamaian. Many of their songs contain da’wah messages that could attract many listeners. At present, there is also a top Indonesian pop band, named Ungu, that always succeeded in making religious songs. Religious songs from Ungu contain many Da’wah messages with touching lyrics, combined with appropriate music. One of Ungu’s latest songs is “Bila Tiba”. This song has a blend of ballad tones and poetic lyrics, as efforts to deliver da’wah messages contained therein. The song that became the soundtrack of the movie “Sang Kyai” is much in demand as a soft tone and the lyrics are evocative. For that reason, this study intends to analyze da’wah message contained in a fusion of tones and lyrics of the song. To analyze the song Bila Tiba, the researcher used Charles Sanders Peirce’s Theory of Semiotics. His classification of signs can be used to peel the tones and lyrics to understand da’wah messages of the song in a complex and profound way. Classifications of signs used in this research were Qualisign, dicent Sinsign, Rhematical Indexical Legisign, dicent Symbol, and Argument. Result of this research is that this song reminds the listener to remember the events of death. Meanwhile, the emphasis of da’wah message contains in the main rhyme of this song, which explains that when death comes, man cannot run away from it. The message of this song is delivered with the poetic lyrics and soft tones and this makes this song a means of contemplation for the listeners. Furthermore, this song also invites the listeners to correct their deed during life, to prepare for the coming death, and to pray for a good death (khusnul khotimah). Musik merupakan salah satu media penyampai pesan. Dalam musik dapat disematkan norma-norma yang terkandung dalam kehidupan salah satunya Pesan Dakwah. Musik yang mengandung Pesan Dakwah biasa disebut Musik Religi. Musik Religi di Indonesia dimulai pada tahun 70-an oleh band legendaris Bimbo dengan lagu Sajadah Panjang, dan grup Nasyid Nasida Ria dengan lagu Perdamaian. Banyak dari lagu-lagu mereka berisikan pesan dakwah yang banyak diminati pendengar. Dan saat ini, terdapat juga band papan atas Indonesia yang selalu berhasil dalam membuat lagu religi dari aliran pop, yaitu Band Ungu. Lagu-lagu religi dari Band Ungu banyak berisikan pesan dakwah dengan lirik yang menyentuh, diiringi dengan musik yang sesuai. Dan salah lagu religinya yang terbaru yang berjudul “Bila Tiba”. Lagu ini memiliki perpaduan antara nada Ballad dan lirik yang puitis, sebagai upaya maksimal untuk menyampaikan pesan dakwah yang terkandung di dalamnya. Lagu yang menjadi soundtrack film “Sang Kyai” ini banyak diminati karena nadanya lembut dan liriknya yang menggugah. Untuk itu penelitian ini bermaksud untuk menganalisis Pesan Dakwah yang terkandung dalam perpaduan nada dan lirik lagu tersebut. Untuk menganalisis lagu “Bila Tiba”, peneliti menggunakan Teori Semiotika Charles Sanders Peirce. Klasifikasi tanda dari Charles Sanders Peirce dapat digunakan untuk mengupas simbol nada dan lirik lagu, untuk kemudian dapat diketahui pesan dakwah lagu secara kompleks dan mendalam. Klasifikasi tanda yang digunakan antara lain Qualisign, Dicent Sinsign, Rhematical Indexical Legisign, Dicent Symbol, dan Argument. Dari hasil analisis terungkap bahwa pesan dakwah dalam lagu ini menyampaikan kepada pendengarnya untuk mengingat peristiwa kematian. Sementara penekanan dari isi pesan lagu terdapat pada bait utama, yang menerangkan ketika ajal datang, manusia tidak bisa lari darinya. Pesan lagu disampaikan dengan lirik yang puitis dan nada yang lembut, menjadikan lagu ini sebagai sarana perenungan bagi pendengarnya. Lagu ini juga mengajak pendengarnya untuk memperbaiki amal perbuatannya selama hidup, untuk mempersiapkan diri ketika kematian datang menghampirinya. dan senantiasa berdo’a agar mati dalam keadaan khusnul khatimah.
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Abukaeva, Lyubov A. "Functions and functioning of Mari guest songs." Vestnik of the Mari State University 14, no. 3 (2020): 344–50. http://dx.doi.org/10.30914/2072-6783-2020-14-3-344-350.
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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.
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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.
Dissertations / Theses on the topic "Maxi Songs"
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Araneda, Alarcón Benjamín Elías. "Evaluación estratégica de la entrada de Maui and Sons al mercado retail vestuario en Colombia." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/116760.
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Tesis para optar al grado de Magíster en Gestión para la GlobalizaciónMaui and Sons, cadena de tiendas de retail de vestuario, se plantea la posibilidad de expandir sus operaciones a Colombia, como parte de su estrategia de internacionalización, basándose principalmente en la observación de lo que están haciendo los otros retailers chilenos en Latinoamérica. El objetivo de este trabajo es realizar una evaluación estratégica y económica de la entrada de Maui and Sons al mercado de retail vestuario colombiano. En la primera sección de este trabajo se define a Colombia como el país ideal para continuar con la estrategia de internacionalización, ya que ofrece una serie de oportunidades e incentivos para la inversión extranjera y porque se encuentra viviendo un proceso de recuperación política y económica que ha atraído a los grandes actores del retail latinoamericano. Las tiendas por departamento son una industria creciente en Colombia, la cual está lejos de saturarse y Maui and Sons cuenta con los recursos tanto económicos, de personas y know-how para lograr una expansión exitosa realizando inversión directa. El estudio muestra que la compañía no está actualmente en una posición sólida de gestión como para resistir dos expansiones internacionales de forma simultánea. De esta forma, se recomienda que la compañía supere sus debilidades estructurales primero. Seguido de esto, y tal como lo demuestra la experiencia de otros actores nacionales de la industria que se han aventurado en Colombia, es recomendable que la compañía replique su modelo de negocios en Chile para Colombia con la salvedad de las diferencias culturales que se señalan en éste trabajo. En este trabajo, y dadas las condiciones de la compañía, se recomienda de entrar, usar una estrategia de alianza, hasta estar listos para una entrada Greenfield. De todas formas, en este texto se hace una revisión de las locaciones donde se encuentran compañías que pueden ser del interés de Maui and Sons como socios estratégicos para su entrada. Finalmente, se concluye el enorme potencial que ofrece el mercado colombiano para la expansión de la compañía, y se realizan recomendaciones sobre mejoras que debe enfrentar Maui and Sons antes de comenzar su incursión en Colombia.
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Cortés, Gerbaud Claudio Eduardo. "Diseño e implementación de un sistema de control de gestión en empresas Maui and Sons S.A." Tesis, Universidad de Chile, 2014. http://www.repositorio.uchile.cl/handle/2250/117577.
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Tesis para optar al grado de Magíster en Control de GestiónAutor no autoriza el acceso a texto completo de su tesis en el Portal de Tesis Electrónicas de la U. de Chile.
La empresa Maui And Sons S.A es una organización familiar, que se dedica a la comercialización y distribución de prendas de vestir y accesorios. Es en este contexto, donde toda la organización es dirigida por los dueños, con jefaturas no profesionales, sin una estrategia claramente definida, ni tampoco una misión y visión explícita. Es una organización basada en la experiencia, donde todas las decisiones son tomadas por los dueños, y no existen áreas estructuradas. En los últimos 3 años, los dueños, motivados por un par de asesorías tomadas, decidió impulsar una agenda del cambio. Este proceso comenzó con la contratación de profesionales jóvenes en distintas áreas de la empresa, con la misión de estructurarlas, y comenzar a generar una compañía profesionalizada, con una visión de futuro común, y con jefaturas competentes que fueran capaces de llevar a Maui a los nuevos desafíos impuestos por los mismos dueños, y por otro lado, que la familia pudiera delegar en dichos profesionales la dirección de la empresa. En este contexto, el trabajo se ha focalizado en la mejora de los procedimientos, partiendo por el área más crítica que es la gerencia comercial. Así también se avanzó en los procedimientos de las áreas de contabilidad, finanzas, administración y operaciones. Es en esta última área donde radica el principal esfuerza en mejorar procesos logísticos que son claves para la sustentabilidad del negocio, y poder cumplir las cada vez más exigentes necesidades de los clientes. En esta amplia visión de empresa, con nuevas áreas profesionales, surge también la necesidad de diseñar una línea de acción; un mapa estratégico que recorra la nueva misión y visión de sus propietarios, para generar finalmente un cuadro de mando integral, donde se plasmen los indicadores que alineados con la estrategia, permitan controlar las metas necesarias para llevar a cabo el plan de expansión de la compañía, y su salida de Chile, específicamente al mercado peruano.
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Bohman, Elias. "When the Death Count Gets Higher : Intensifying ‘Sons of the Soil’ Conflicts." Thesis, Uppsala universitet, Institutionen för freds- och konfliktforskning, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-303327.
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‘Sons of the soil’ conflicts seldom intensify above a low level of intrastate violence. Although frequent, they tend to remain small in scale, which has contributed to a lack of scholarly understanding about why some Sons of the soil conflict yet intensify more than others. Taking the role of the state into account, this study aims to investigate the causes for intensification in these conflicts. With a neoclassical realist approach, domestic factors behind the causal process of conflict intensification are unearthed, thereby investigating further the action-formation of the government threat perception. It leads the study to test the following hypothesis: A Sons of the soil conflict is more likely to intensify if the government misperceives the threat the conflict constitutes. Through a comparative process tracing analysis of Sons of the soil conflict intensity in Mali and Niger, 2006-2012, findings suggest that certain domestic factors at the state level cause a significant variation in the outcome. Actual low threats of Sons of the soil conflict may in fact be intensified due to state misperceptions.
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Lam, Bonita Mei-Hua Soohoo. "HONG MAI AND THE "YI JIAN ZHI" (SUNG LITERATURE, CHINA, CHIH-KUAI)." Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/292094.
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WANG, HSIU HUEI. "Yjz : un outil informatique sur le yijian zhi de hong mai et ses applications a l'etude de la societe des song." Paris 7, 1989. http://www.theses.fr/1989PA070080.
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Cette these presente une base de donnees informatique sur le yijian zhi, recueil d'environ 3000 recits extraordinaires compile par hong mai (1123-1202). Cet outil de travail, concu pour illustrer comment les etudes chinoises pourraient beneficier de methodologies nouvelles, regroupe a la fois des donnees directement extraites de texte (en chinois et dans la transcription pinyin) et une analyse thematique en francais. Apres avoir, dans la premiere partie, presente l'ouvrage, ses editions et son auteur, nous nous attachons a decrire en detail l'elaboration et les methodes d'exploitation de la base de donnees. Cette deuxieme partie insiste sur la rapidite, l'efficacite et la puissance de recherche mises a la disposition de l'utilisateur, tout en livrant des resultats statistiques sur l'ensemble du recueil. La troisieme partie est entierement consacree aux applications possibles de la base de donnees a l'etude de la chine des song et demontre comment on peut acceder ainsi a une description faisant appel a des arguments semi-quantitatifsThis dissertation presents a computer-based relational database on the yijian zhi, a collection of about 3000 short stories compiled and written by hong mai (1123-1202). This research tool, which was designed so as to illustrate how chinese studies could benefit from a novel methodology, includes data directly extracted from the text (in chinese and in the pinyin transcription) together with a thematic analysis in french. While the first part of this work presents the text, its various editions and its author, the second part deals with the detailed description of the elaboration and the exploitation of the database. The emphasis is put on the speed, the efficiency and the power left at the scholar's disposal and various statistical results are given. In the third part, some possible applications of the database to the study of sung china are reviewed and examplified, showing how one can reach a description at a semi-quantitative level
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Johnston, Emma Anne. "Healing maori through song and dance? Three case studies of recent New Zealand music theatre." Thesis, University of Canterbury. Theatre and Film Studies, 2007. http://hdl.handle.net/10092/980.
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This thesis investigates the way "healing" may be seen to be represented and enacted by three recent New Zealand music theatre productions: Once Were Warriors, the Musical-Drama; The Whale Rider, On Stage; and Footprints/Tapuwae, a bicultural opera. This thesis addresses the ways each of these music theatre productions can be seen to dramatise ideologically informed notions of Maori cultural health through the encounter of Maori performance practices with American and European music theatre forms. Because the original colonial encounter between Maori and Pakeha was a wounding process, it may be possible that in order to construct a theatrical meeting between the "colonised" Maori and the "colonial" non-Maori, "healing" is an essential element by which to foster an idea of the post-colonial, bicultural togetherness of the nation. In all three productions, Maori song and dance forms are incorporated into a distinctive form of western music theatre: the American musical; the international spectacle; Wagnerian opera. Wagner's attempts to regenerate German culture through his music dramas can be compared to Maori renaissance idea(l)s of cultural "healing" through a "return" to Maori myths, traditions and song and dance.
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Negura-Bichir, Radu. "Divination et destinée sous la dynastie Song (960-1279) : étude de la mise en scène des méthodes mantiques dans le Yijian zhi de Hong Mai (1123-1202)." Thesis, Université de Paris (2019-....), 2019. http://www.theses.fr/2019UNIP7054.
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Le point essentiel de cette thèse est d’étudier la mise en récit des univers mentaux de la société des Song à travers des textes issus du Yijian zhi de Hong Mai (1123-1202) concernant la divination. À travers cette étude, nous essayons d’analyser les différents aspects de l’interprétation des signes divinatoires, de saisir les contextes des consultations. Nous verrons aussi en quoi il serait plus intéressant de classer les devins selon d’autres critères que leurs techniques mantiques, pour nous plonger en dernier lieu dans les conceptions du destin que pourrait nous présenter Hong Mai. Différentes questions surgissent de cette analyse, par exemple, l’auteur a-t-il un parti pris lorsqu’il écrit ? Sommes-nous en présence de textes qui ne sont qu’un enregistrement pur, ou s’agit-il d’une construction plus fine et plus subtile que l’auteur nous invite à découvrir ? La lecture des anecdotes nous montrera également en quoi l’auteur n’est pas qu’un simple écoutant, mais qu’il apporte un commentaire sur son monde à travers les mises en récit qu’il nous proposeThe essential point of this dissertation is to study the narration of Song society mental universes through a selection of texts taken from the Yijian zhi of Hong Mai (1123-1202), and which concern divination. Through this study, I try to analyze different aspects of the interpretation of mantic signs, and to understand every context in which a consultation might happen. I will also demonstrate how it is possible to divide diviners between other aspects of their practice. Eventually, I will present the conceptions that the authour might have about destiny through the reading of thoses anecdotes. Many questions arise in this study; for instance, does the author have his own particular point of view when he is writing his anecdotes? Are we facing texts that are only a pure neutral recording, or does the author invite us to a more profound and subtle reading? The study of those stories will show us why the authour is not just a listener, but brings also a type of commentary on his society through the anecdotes he writes
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Marchbanks, Jack R. "Pride and Protest in Letters and Song: Jazz Artists and Writers during the Civil RightsMovement, 1955-1965." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1522929258105629.
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Tremura, Welson Olsen Dale A. "With an open heart Folia de Reis, a Brazilian Spiritual journey through song /." Diss., 2004. http://etd.lib.fsu.edu/theses/available/etd-04122004-151722/.
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Dissertation (Ph.D.) -- Florida State University, 2004.Advisor: Dale Olsen, Florida State University, School of Music. Title and description from dissertation home page (viewed 10-6-04). Document formatted into pages; contains 322 pages. Includes biographical sketch. Includes bibliographical references.
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Johnston, Emma. "Healing Maori through song and dance? : three case studies of recent New Zealand music theatre : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Theatre and Film Studies in the University of Canterbury /." 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20071119.093313.
Full textBooks on the topic "Maxi Songs"
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Gerasimov, O. M. Ėlnet kundemyn poi͡a︡nlykshe: Muzykalʹnyĭ folʹklor elabuzhskikh mari. Ĭoshkar-Ola: Ministerstvo kulʹtury Respubliki Mariĭ Ėl, 1997.
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Devnath, Lakshmi. Madurai Mani Iyer: The joy of song. Chennai: Heritage Publishing House, 2012.
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E, Kokare, ed. Nāc, Dievin̦, līdz ar mani: Tautasdziesmas par Dievu. Rīga: "Zinātne", 1995.
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Mati, vështrim etnomuzikor: Gjurmime, studime dhe vlerësime. Tiranë: Shtëpia botuese "Mirgeeralb", 2009.
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Kurti, Dilaver I. Folklor nga Mati: Botim me rastin e 80-vjetorit të lindjes. Tiranë: Ilar, 2014.
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Samakè, Ndugacè. Maghan Jan et autres récits des chasseurs du Mali de Ndugacè Samakè. Paris: Harmattan, 1999.
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Coatsworth, Elizabeth Jane. Song of the camels: A Christmas poem. New York: North South Books, 1997.
Find full textBook chapters on the topic "Maxi Songs"
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Padhi, Ranjana, and Nigamananda Sadangi. "The Song of the Mali." In Resisting Dispossession, 191–211. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0717-5_8.
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Machtan, Lothar. "Germany’s Ersatz Kaiser? The Political Opportunities of Max von Baden: Royal Heir and Imperial Chancellor." In Sons and Heirs, 263–79. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-45498-0_16.
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Lysaght, Ruth. "16. Tell A Song/Waiata Mai/Abair Amhrán: Singing Out." In Social Media and Minority Languages, edited by Elin Haf Gruffydd Jones and Enrique Uribe-Jongbloed, 237–45. Bristol, Blue Ridge Summit: Multilingual Matters, 2013. http://dx.doi.org/10.21832/9781847699053-019.
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Kalaitzidou, Eftychia. "To Cry One’s Fate: Female Expressions of Pain in the Lamentation Songs of Mani in Modern Greece." In Schmerz, 117–26. Göttingen: V&R unipress, 2022. http://dx.doi.org/10.14220/9783737014540.117.
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Seeman, Sonia Tamar. "The Poetics of Singing Roman." In Sounding Roman, 255–311. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199949243.003.0008.
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This chapter traces a poetics of emergent meaning in sözlü Roman oyun havası from static iconicity drawn from çingene references in kanto songs through musicians’ creative incorporation of improvised poetic mani and shouted hocali forms. While expressing communal reactions to specifically Roman experiences, the inclusion of patricularistic references from mani and hocali inscribed revised social distinctions along gendered, generational, class, and status lines. Through musical analysis and observations of musicians creating new songs, I demonstrate how musicians drew on keriz-style improvisations to expand melodic repertoires for song settings in response to the increased demand for new and relevant dance tunes. Commercial circulation and copyrighting of these songs also increased tensions between artists themselves and studio heads, thus reshaped community-based practices of borrowing and performing. The chapter ends with narrations of three performance events to illustrate the dynamic relationship between an ongoing metaphoricity of sound to a mimesis of enlarged presence and pluralized identities.
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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer at the End." In Madeleine Dring, 205–54. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0008.
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The letters sent to American composer and pianist Eugene Hemmer allow Dring to speak in her own voice for the first time since the early diaries, documents that allow a glimpse into her musical as well as her personal life. There is a brief discussion of The Florida International Music Festival, which featured the US premiere of her most popular instrumental composition, the Trio for Flute, Oboe, and Piano, a work which provides a splendid example of her later musical style. Other works that are discussed include The Real Princess, a ballet written for Mari Bicknell’s Cambridge Ballet Workshop, and four song cycles: Dedications, Love and Time, Five Betjeman Songs, and Four Night Songs. Also documented are the first professional recordings of her compositions and the spiritual journey she undertook in her last years, the latter illustrated by talks that she gave at the Centre for Spiritual and Psychological Studies. Finally, her sudden death from a brain aneurysm is related through letters of Roger Lord and other documents, followed by her memorial service and concerts in her honor at the RCM.
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"INTRODUCTORY SONGS OF THE "DAIKOKU-MAI."." In Nightless City Of Geisha, 291–93. Routledge, 2012. http://dx.doi.org/10.4324/9780203039564-56.
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"Felix Mendelssohn Bartholdy’s Songs Without Words." In Selected Writings of Max Reger, 119–24. Routledge, 2013. http://dx.doi.org/10.4324/9780203958858-20.
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Pchelovodova, Irina, and Nikolai Anisimov. "An Udmurt Exceptional Performer, Dzhakapay." In Sator, 439–68. ELM Scholarly Press, 2021. http://dx.doi.org/10.7592/sator.2021.22.16.
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This article concentrates on the phenomenon of the individual in the ethnic culture of the Udmurt, bearing in mind that this has never been attempted before. This is a proper framework to analyse Ol’ga Solov’yova’s (1932–2018) personality, who was famous among the people as Dzhaky / Dzhakapay / Dzhaky apay (lit: Aunt Jay). A whole range of reasons justifies scientific interest in her: her huge repertoire of songs and rituals, her ability to improvise freely within her local tradition, her unique musical and auditory skills. The analysis of Dzhakapay’s character allows us to connect the songs of her repertoire and her fate. Many non-ritual songs are in fact autobiographical narratives, dedicated to reflexions on an unhappy fate, on being an orphan. A considerable number of songs in her repertoire belong to the category of so-called personal songs (in Russian: imennyye pesni, ‘name songs’), which represent a kind of personal memoire in musical form. Another unique feature of this performer’s art is her knowledge of songs from neighbouring villages in their original language (Russian, Mari, Tatar) and their translation into Udmurt. Her knowledge of the local traditional rituals made her very important to the local community, in which she was deeply respected. Until the last day of her life, she followed the ontological positions, the rules of behaviour, the canons of ritual and singing performance elaborated by tradition, and attempted to instil them into the people surrounding her. This awakened her genuine interest in the social and scientific milieu. And today, when she is no longer among us, her name is attached to many very different projects.
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Smith, Steven C. "Voyage into Fog." In Music by Max Steiner, 267–81. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0018.
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This chapter juxtaposes Steiner’s intense correspondence with his estranged wife—then living in New York, and hoping to begin a singing career at age 35—with the emotional power of his scores of the time. They include They Died with Their Boots On, starring Errol Flynn (a rare western Steiner loved scoring, thanks to its rich characterizations), and Now, Voyager, the peak of his work with Bette Davis. The latter score earned Steiner a second Oscar, and partially fulfilled one of his unrealized ambitions: authorship of a popular song. After nearly a decade of battles with ASCAP—which still refused to collect royalties for film music—Now, Voyager’s hit song “It Can’t Be Wrong” yielded Steiner much-needed royalties from sheet music sales and recordings. But these earnings could not save him from mounting debt or convince Louise to return to him.
Conference papers on the topic "Maxi Songs"
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Nayak, Shikshya, Sarmila Garnaik, Suraj K. Nayak, Debasisha Panigrahi, and Kunal Pal. "Study of the effect of a patriotic song on autonomic nervous system and heart using ECG signal analysis." In 2017 2nd International Conference on Man and Machine Interfacing (MAMI). IEEE, 2017. http://dx.doi.org/10.1109/mami.2017.8307895.
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Williams, Toiroa. "KO WAI AU? Who am I?" In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.180.
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This presentation accounts a journey of the researcher’s practice-led doctoral project, Tangohia mai te taura: Take This Rope. The study involves researching, directing and producing a documentary about historical grievances to exhume stories from a Māori filmmaker’s community that call into question colonial accounts of the 1866 execution of their ancestor Mokomoko, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. As a consequence of an accusation of murder, Mokomoko was arrested for the crime, imprisoned and hanged, all the while protesting his innocence. In retribution, our people had their coveted lands confiscated by the government, and they became the pariahs of multiple historical accounts. The practice-led thesis study asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of such an event in culturally sensitive ways to tell the story of generational impact. Accordingly, the documentary Ko Wai Au, seeks to communicate an individual’s reconnection to, and understanding of, accumulated knowledge and experience, much of which is stored inside an indigenous, dispossessed whānau (family), whose whakapapa (genealogy) is interwoven with historical events and their implications. As a member of a generation that has been incrementally removed from history and embodied pain of my whanau, through the study I come seeking my past in an effort to understand and contribute something useful that supports my people’s aspirations and agency in attaining value, healing, and historical redress. This presentation advances a distinctive embodied methodological approach based on whenua (land) and whanau (family). In this approach, the researcher employs karakia (traditional incantations), walking the land, thinking, listening to waiata (traditional songs) and aratika (feeling a ‘right’ way). My position is one of humility and co-creation. I am aware that the rōpū kaihanga kiriata (film crew) with whom I work will be called into the trusting heart of my whānau and we must remain attentive to Māori protocols and sensitivities. Given the responsibility of working inside a Kaupapa Māori research paradigm, methodology and methods are shaped by kawa and tikanga (customary values and protocols). Here one moves beyond remote analysis and researches sensitively ‘with’ and ‘within’, a community, knowing that te ao Māori (the Māori world) is at the core of how one will discover, record, and create.
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Williams, Toiroa. "NO HEA KOE? Where are you from?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.
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“Me tiro whakamuri, ki te haere whakamua. We must look to our past in order to move forward.” This whakataukī (proverb) speaks to Māori perspective of time and the importance of knowing your own history in order to move forward. We must look to our past and move as if we are walking backwards into our future. The present and past are certain, however, the future is unknown. Tangohia mai te taura: Take This Rope - is a practice-led research project, that enquires into a disputed narrative of the past. The thesis study involves researching, directing and producing a feature documentary about historical grievances within Te Whakatōhea and Te Whānau ā Mokomoko. The project artistically explores the potentials of documentary form in relation to Mātauranga Māori (Māori customs and knowledge) and kaupapa Māori (Māori research approaches). The research seeks to exhume stories from iwi members and question certain Pākehā constructed narratives (The Church Missionary, 1865; Taylor, 1868; McDonnell, 1887: Grace, 1928). Accordingly, the documentary will communicate outwards from accumulated experience and storytelling within my whānau. Thus, it will interweave the narratives of people whose whakapapa (genealogy) has been interwoven with historical events and their implications, related to the execution of my ancestor Mokomoko in 1866, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. Artistically and theoretically, the project constructs a new form of Māori documentary through a consideration of pūrākau (Pouwhare and McNeill 2018). The significance of the study lies in the potential to rethink documentary form based on the tenets of pūrākau. In so doing, the study will not only expand the corpus of research about Mokomoko but also extend how indigenous documentaries might be thought of as structures. Four key concepts that will guide the development of the film are: WHAKAPAPA - GENEALOGY Through genealogy, it builds my personal connection with the film, the interviewees and the community. But it also holds a strong responsibly for me to complete this film with the utmost respect and care. WHENUA and WHANAU – LAND and FAMILY With land and family at the centre of the film. Embodiment is an important part of how this film is created. I reconnected more with my extended family and actively seek out opportunities to attend wānanga (discussions) and perform kapa haka (Māori performing arts) specific to our land and family. TIKANGA – CUSTOMS The process and structures of making this film have followed tikanga Māori (Māori customs). Practising karakia and waiata (Māori prayers and songs) to perform before and after we film were key customs we believe are important when creating this film. These protocols are practised by the crew and affirm our rōpu (group) as a family. KOHA - RECIPROCATION Unlike traditional filming structures that schedule films to be completed in an economically and efficient way. Koha reinforces the concept of reciprocation, to give and receive. As the community gifts their time and stories, the film will be gifted back to those from which it came. Myself as the ringa toi (artist) must make conscious effort to go back to the iwi (local tribe) and being an active member within the town and supporting community initiatives. In addition, the study will demonstrate how the process of documentary making inside iwi can function as a form of raranga (weaving) where collaborating fragments may take form and through this increase feelings of value, healing, and historical redress.