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Journal articles on the topic 'Praise singer'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Harrison, S. J. "The Praise Singer: Horace Censorinus and Odes 4. 8." Journal of Roman Studies 80 (November 1990): 31–43. http://dx.doi.org/10.2307/300279.

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The criticism of the eighth ode of Horace's fourth book has been bedevilled by three major uncertainties: probable interpolation in its text, confusion about the identity of its addressee, and doubt as to its literary quality.1 These issues will form the central concerns of this discussion. Earlier critics have been consistently scathing in their view of Odes. 4. 8: some editors have even gone so far as to deny Horatian authorship,2 many have made dismissive judgements, following the verdict of Wilamowitz (‘really very bad’), and a recent commentator has classed 4. 8 as ‘the least lyrical of t

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2

Pellow, Deborah. "Male praise-singers in Accra: in the company of women." Africa 67, no. 4 (1997): 582–601. http://dx.doi.org/10.2307/1161109.

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AbstractIn 1957 M. G. Smith published a seminal paper on the role of the male praise-singer, the maroki, among Northern Nigeria's Muslim Hausa. My paper explores the role of the maroki in the diaspora community of Sabon Zongo in Accra. While Accra's zongo communities are considerably diluted in their Islamic orthodoxy, they are nonetheless distinctly Islamic in tone, witness the mosques, Qurʼānic schools, flowing robes and diaphanous prayer veils, and a general cultural orientation that is strongly influenced by the Hausa and distinct from Christian southern Ghana. Among the Hausa, and those z

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3

Furley, William D. "Praise and persuasion in Greek hymns." Journal of Hellenic Studies 115 (November 1995): 29–46. http://dx.doi.org/10.2307/631642.

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Largely because the processes of transmission have been unkind, the religious hymns sung by the Greeks during worship of a god on a public or private occasion have received less than their due attention from modern scholars. Our sources frequently mention in passing that hymns were sung on the way to Eleusis, for example, or at the well Kallichoron on arrival at Eleusis, or by the deputations to Delos for the Delia, but they usually fail to record the texts or contents of these hymns. Until the fourth century BC temple authorities did not normally have the texts of cult songs inscribed; and th

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4

Bonshor, Michael. "Conductor feedback and the amateur singer: The role of criticism and praise in building choral confidence." Research Studies in Music Education 39, no. 2 (2017): 139–60. http://dx.doi.org/10.1177/1321103x17709630.

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5

Graziano, John. "The Early Life and Career of the "Black Patti": The Odyssey of an African American Singer in the Late Nineteenth Century." Journal of the American Musicological Society 53, no. 3 (2000): 543–96. http://dx.doi.org/10.2307/831938.

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The early career of the African American singer Matilda Sissieretta Jones (1868-1933), known as the "Black Patti," was unique in nineteenth-century America. Reviewers gave high praise to her singing, and she attracted large mixed-race audiences to her concerts across the country. Her fame was such that, during the early 1890s, she appeared as the star of several companies in which she was the only black performer. This article documents her early life in Portsmouth, Virginia, and Providence, Rhode Island; her two tours, in 1888 and 1890, to the Caribbean and South America; and her varied conce

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6

Swanepoel, C. F. "Rereading Albert B. Lord'sThe Singer of Tales. Revisiting the definition and application of formulas in Sesotho praise poetry." South African Journal of African Languages 30, no. 1 (2010): 98–111. http://dx.doi.org/10.1080/02572117.2010.10587340.

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НАЗАРОВ, НАЗАРІЙ А. "Індоєвропейські витоки обрядовості слов’янського епосу". Studia Slavica Academiae Scientiarum Hungaricae 64, № 1 (2019): 117–30. http://dx.doi.org/10.1556/060.2019.64110.

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Was there a goddess Slava in Slavic pagan antiquity? Though there have been voices that it was possible, the analysis of Slavic folklore texts proved the issue to be more complex. The present paper shows that Ukrainian folklore as well as the folklore of other Slavic peoples may have preserved stable compositional clichés that can be traced back to Indo-European prototypes. In their turn, these clichés may be explained as the verbal reflections of ritual practices and sacred etiquette. It is stated that the final parts of Ukrainian dumas, Russian bylinas, and Serbian heroic songs that contain

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8

Barchiesi, Alessandro. "Poetry, Praise, and Patronage: Simonides in Book 4 of Horace's "Odes"." Classical Antiquity 15, no. 1 (1996): 5–47. http://dx.doi.org/10.2307/25011030.

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The paper aims at reconstructing the influence of Simonides on a contiguous series of Horatian poems ("Odes" 4.6-9). The starting point is provided by the discovery of new Simonidean fragments published by Peter Parsons and by Martin West in 1992. But the research casts a wider net, including the influence of Theocritus on Horace-and of Simonides on Theoocritus-and the simultaneous and competing presence of Pindar and Simonides in late Horatian lyric. The influence of Simonides is seen in specific textual pointers-e.g., a simile on the death of Achilles in 4.6, the idea of caducity in 4.7-as w

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9

MIKUSI, BALÁZS. "‘LEARNED STYLE’ IN TWO LESSING SETTINGS BY HAYDN." Eighteenth Century Music 1, no. 1 (2004): 29–46. http://dx.doi.org/10.1017/s1478570604000028.

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This article offers close readings of the part-song Die Beredsamkeit and the solo song Lob der Faulheit. The former seems to illustrate ‘eloquence’ on at least four levels by imitating the intonation of elevated speech, by invoking the so-called ‘learned style’ of music through the introduction of various contrapuntal procedures, by quoting some of the most elementary figures of musical rhetoric (such as the Halbzirkel and the tirata) and by constructing the whole of the work as a well-delivered oration consisting of introduction, statement, corroboration, refutation and reaffirmation. Lob der

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A, Poongodi. "Virali and Artistic Background Change." International Research Journal of Tamil 3, no. 4 (2021): 24–31. http://dx.doi.org/10.34256/irjt2144.

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Humans carried the ideas that came to their minds to the people through the arts. Artists are those who have the power to express the arts to others through their culture. The role of such artists in the Sangam era was of great importance. Ninga had a place in the kingdom and in the battlefields. In Sangam songs, the words for the artist were Panar, Porunar, Kuiluvar, Vayiriyar, Viraliyar, Kuttar, Kannular and Patiniyar. Although all of these are generic, there is a subtle difference between the names in terms of musical instruments' playing, dancing, and singing skills. Of these, Viraliyar is

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11

Strolonga, Polyxeni. "From Choral to Monodic Hymns: Some Evidence from theHomeric Hymns." Trends in Classics 12, no. 1 (2020): 16–47. http://dx.doi.org/10.1515/tc-2020-0003.

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AbstractThis paper investigates internal evidence from the Homeric Hymns in order to trace the development from choral to monodic hymns. A study of the words humneo and humnos and the analysis of the embedded choral theogonic songs in the corpus of the Homeric Hymns show that women’s choral songs about gods are always identified as hymns, while the monodic theogonies, which are described in this corpus, are not identified as such. This division between choral and monodic hymns, reflected to some extent in the diction, is reconciled in the Homeric Hymn to Apollo, in which the poet, representing

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12

Tkacz, Catherine Brown. "Christian Formulas in Old English Literature:Næs Hyre Wlite Gewemmedand its Implications." Traditio 48 (1993): 31–61. http://dx.doi.org/10.1017/s0362152900012861.

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The heroes of God scorn apostasy. Bound and thrust into an insanely fired furnace, its flames jetting nine and forty cubits above the oven itself, they stand unconcerned in the midst of it, their bonds wondrously burned away. And the flames do not touch them; rather, the fire bursts out the sides to incinerate the torturers who stoke it. Then an angel of the Lord enters the furnace and thrusts the fire from the saints, who feel the pleasant refreshment of a dewy breeze. In the middle of the fire they stand and praise God. Astonished, their persecutor beholds the trio with the fourth who has jo

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Sawyer, Robert. "Performing Protest in Cross-Cultural Spaces: Paul Robeson and Othello." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (2017): 77–90. http://dx.doi.org/10.1515/mstap-2017-0006.

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When the famous African-American actor and singer Paul Robeson played the lead in Shakespeare’s Othello in London in 1930, tickets were in high demand during the production’s first week. The critical response, however, was less positive, although the reviews unanimously praised his bass-baritone delivery. When Robeson again played Othello on Broadway thirteen years later, critics praised not only his voice but also his acting, the drama running for 296 performances. My argument concerning Robeson uses elements first noted by Henri Lefebvre in his seminal work, The Production of Space, while I

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14

Lance. "Chiefs, Priests, and Praise-Singers: History, Politics, and Land Ownership in Northern Ghana." Journal of West African History 2, no. 1 (2016): 199. http://dx.doi.org/10.14321/jwestafrihist.2.1.0199.

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15

Khan, Dominique-Sila. "The Kāmaḍ of Rajasthan — Priests of a Forgotten Tradition". Journal of the Royal Asiatic Society 6, № 1 (1996): 29–56. http://dx.doi.org/10.1017/s1356186300014759.

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In Rajasthan, one of the north-western states of India, whoever has heard of the Kāmaḍ (or Kāmaḍiyā) would define them as wandering minstrels or jugglers, singing hymns in praise of Bābā Rāmdeo, a famous saint from Mārwāṛ, whose footprints they worship. Most people could not say much more about this community of religious singers who, since Independence, have been listed among the “scheduled castes”. In any case, everybody seems to be aware of their connection with Rāmdeo, a famous folk deity, also popular in Gujarat and Madhya Pradesh, now venerated by devotees of all castes and creeds, but m

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16

Grischow, Jeff. "MacGaffey, Wyatt: Chiefs, Priests, and Praise-Singers. History, Politics, and Land Ownership in Northern Ghana." Anthropos 109, no. 1 (2014): 310–11. http://dx.doi.org/10.5771/0257-9774-2014-1-310.

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Howell, Allison M. "Book Review: Chiefs, Priests, and Praise-Singers: History, Politics, and Land Ownership in Northern Ghana." International Bulletin of Missionary Research 38, no. 1 (2014): 46. http://dx.doi.org/10.1177/239693931403800115.

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Jackson, William Joseph. "Sincere Praise of Honest Sweat: Tirumalamba’s Varadambika Parinaya Campu and Pingali Surana’s Kalapurnodayam." Journal of Dharma Studies 1, no. 1 (2018): 69–83. http://dx.doi.org/10.1007/s42240-018-0015-3.

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Schulz, Dorothea E. "Music Videos and the Effeminate Vices of Urban Culture in Mali." Africa 71, no. 3 (2001): 345–72. http://dx.doi.org/10.3366/afr.2001.71.3.345.

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AbstractThis article focuses on a number of highly successful female pop singers in Mali whose video music clips and music shows make up a major share of urban people's daily broadcast consumption. The article explores the reasons for the astonishing success of the singers by locating the consumption and interpretation of their songs in Malian popular and scholarly discourses on cultural authenticity and moral decline. Some Malian scholars emphasise that women's pop songs reflect the corruption and mixing of traditional oral genres characterised by historical knowledge, textual complexity and

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20

Plecitá, Jana. "The Image of Růžena Maturová in the Iconography Collection of the Bedřich Smetana Museum." Musicalia 12, no. 1-2 (2021): 87–109. http://dx.doi.org/10.37520/muscz.2020.003.

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The article summarises the results attained so far through research and expert processing of the photographs held in the iconography collections of the Bedřich Smetana Museum. It provides information about Růžena Maturová (1869–1938) including previously unpublished details about the period of her life after the end of her career as an opera singer at the National Theatre in Prague (1910–1938), concerning Maturová’s performing in silent film (1920–1922), her work in healthcare services (1914–1920), and her sociocultural activities in support of retired soloists from the National Theatre in Pra

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21

Steinke, Robert. "Walther, Reinmar, and Biographism in the Second Degree: A Text-Centered Interpretation of Walther von der Vogelweide's Obituary of Reinmar Walther, Reinmar und der Biographismus auf zweiter Stufe: Eine textfokussierte Interpretation des Reinmar-Nachrufs Walthers von der Vogelweide." Zeitschrift fuer deutsches Altertum und Literatur 149, no. 1 (2020): 22–42. http://dx.doi.org/10.3813/zfda-2020-0002.

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Most critics have seen the remarks of Walther von der Vogelweide on the death of his colleague Reinmar as an expression of a private quarrel between both singers. The contrast between the obituary's emphatic praise of Reinmar's singing on the one hand and apparent personal disparagement on the other is usually regarded either as a result of interpersonal conflicts or, alternatively, as a rhetorical means to even intensify the praise of Reinmar's art. This article wants to demonstrate that the assumption of a personal struggle between Walther and Reinmar is based on a biographistic circular arg

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22

Barlow, Helen. "‘Praise the Lord! We are a Musical Nation’: The Welsh Working Classes and Religious Singing." Nineteenth-Century Music Review 17, no. 3 (2020): 445–72. http://dx.doi.org/10.1017/s1479409819000570.

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The title quotation from Under Milk Wood encapsulates a widely held belief in the innate musicality of the Welsh and its religious roots. These roots were put down deeply during the nineteenth century, in a huge expansion of choral and congregational singing across Wales and particularly in the industrial communities. This development has been described as ‘a democratic popular choral culture rooted in the lives of ordinary people’, and central to it was the cymanfa ganu, the mass hymn-singing festival. Choral and congregational singing, typified by the cymanfa ganu, underpinned the perception

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23

Zhang, Hui. "The interpretation of the role of Boris Godunov by the Bulgarian opera stars: B. Christoff and N. Ghiaurov." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 11–18. http://dx.doi.org/10.7256/2453-613x.2020.4.33705.

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The research subject is the interpretation of the role of Boris Godunov in the same-name opera by M.P. Mussorgsky by the two Bulgarian opera stars B. Christoff and N. Ghiaurov, and their approach to the work on this role. The author&rsquo;s goal is to reveal the main semantic emphases of the interpretation of the leading role of &ldquo;Boris Godunov&rdquo;, and to reach this goal, the author analyzes the reviews and essays of opera critics, the biographies of the singers, as well as the memoirs of their contemporaries and the interviews with the singers. The topicality of the resea

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Knight, Juanita Marchand, and Crystal Marchand. "Them and the Timbre of Gender." Public 31, no. 62 (2020): 41–59. http://dx.doi.org/10.1386/public_00054_1.

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Inspired by a question—“Trans singers exist, but what would we do with them?”—Marchand Knight, a classically trained soprano, began composing Them, an opera based on the lives of genderqueer artists Claude Cahun and Marcel Moore. These questions emerged as central to the piece: Does gender have a timbre? What are the semiotics of gender that are implicitly (or explicitly) embedded in operatic composition by librettists and composers, and how can they be used or dismantled in this work? How has the taming of the classical voice by the German Fach system stymied Western awareness of what falls o

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Henderson, Clara, and Lisa Gilman. "Women as Religious and Political Praise Singers within African Institutions: The Case of the CCAP Blantyre Synod and Political Parties in Malawi." Women and Music: A Journal of Gender and Culture 8, no. 1 (2004): 22–40. http://dx.doi.org/10.1353/wam.2004.0007.

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(Дьячков), Герасим. "Severity and Condescension in Pastoral Care." Праксис, no. 2(4) (August 15, 2020): 73–86. http://dx.doi.org/10.31802/praxis.2020.4.2.005.

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Статья посвящена одному из главнейших и труднейших подвигов пастырского служения - душепопечению, или духовному окормлению паствы. Цель такового несравненно высока и ответственна - возвести душу пасомого от наличного состояния к благодат ному, «окрылить её, извести из мира и предать Богу». Автор убеждён, что, рассматривая проблему строгости (акривии) и снисходительности (икономии) в деле окормления душ, следует основываться не на отвлечённой доктрине, а на живом святоотеческом опыте пастырства. Опыт строгого и снисходительного отношения пастыря к пастве, зафиксированный в творениях Святых Отцо

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Maccarthy, Evan A. "The English Voyage of Pietrobono Burzelli." Journal of Musicology 35, no. 4 (2018): 431–59. http://dx.doi.org/10.1525/jm.2018.35.4.431.

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Praised by poets, scholars, and fellow musicians of his day, the singer, lutenist, and teacher Pietrobono Burzelli (ca. 1417–97) achieved international renown for his skill at improvisational performances on plucked instruments. Until recently, archival documents recorded his presence at many courts on the Italian peninsula and as far away as the Hungarian court. Documents until now unknown to musicologists reveal that Pietrobono also traveled to England. In August 1466 he signed a will and testament in advance of a risky trip “ad partes Anglie” that he was planning to begin the next day. The

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Clark, Maribeth. "The Body and the Voice in La Muette de Portici." 19th-Century Music 27, no. 2 (2003): 116–31. http://dx.doi.org/10.1525/ncm.2003.27.2.116.

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This article explores changing attitudes toward actors' bodies at the Paris Opera through the performance history of D. F. E. Auber's opera La Muette de Portici from 1828 to 1879. Because a mime performed the role of Fenella and the chorus played an active role in the mise en scene, the opera placed unusual emphasis on the physical. Over this period, however, emphasis shifted from appreciation of acting to emphasis on singing. For example, during the tenor Adolphe Nourrit's tenure at the Opera critics admired his skill as an actor in the role of Masaniello. When replaced by Gilbert Duprez in 1

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Ward, James C. "The Lord Will Make a Way Somehow: Strategies for Cross-Cultural Music and Worship." Review & Expositor 109, no. 1 (2012): 39–50. http://dx.doi.org/10.1177/003463731210900106.

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With neighborhoods shifting racially and economically, churches are challenged with meeting the new population with relevant and culturally meaningful worship music. Ethnic groups are diverse within themselves as well, with black and Latino peoples having disparate tastes and traditions from Church of God in Christ to South American Evangelicals. Congregations must have strong pastoral leadership and competent, spiritually alert musicians and singers. Although the leadership may want more effective outreach through music, it requires trained musicians, often in jazz, to educate the musicians a

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Mews, Constant J. "Liturgists and Dance in the Twelfth Century: The Witness of John Beleth and Sicard of Cremona." Church History 78, no. 3 (2009): 512–48. http://dx.doi.org/10.1017/s0009640709990412.

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Dancing is not often associated with Christian liturgy, at least in modern experience. Yet according to theMitralis de Officioof Sicard, bishop of Cremona (1185–1215), composed about 1200, the circular dance (chorea) provides a key metaphor for understanding the liturgy of Easter. Sicard here draws together two earlier discussions of the subject, both from the twelfth century and of enormously wide influence, manifesting a more positive attitude toward dance than found in many early medieval commentators on the liturgy: theGemma animae(Jewel of the soul) of Honorius Augustodunensis, composed f

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Parr, Sean M. "Vocal Vulnerability: Tenors, Voix mixte and Late Nineteenth-Century French Opera." Cambridge Opera Journal 30, no. 2-3 (2018): 138–64. http://dx.doi.org/10.1017/s0954586719000041.

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AbstractIt is now a historical commonplace that nineteenth-century operatic singing became generally louder and heavier over the course of the century. Early in the century, before the advent of singers such as Gilbert-Louis Duprez, tenors sang high notes with a light, mixed voice, sometimes even falsetto. Strikingly, while such singing was virtually eliminated from Italian opera by the end of the century, the vocal practice continued in certain cases in the French repertory, some of which were created with one particular tenor in mind, Jean-Alexandre Talazac (1851–1896). Talazac was praised f

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Berry, Sara. "MacGaffey, Wyatt. Chiefs, priests, and praise-singers: history, politics, and land ownership in northern Ghana. xii, 227 pp., maps, illus., figs, bibliogr. Charlottesville: Univ. of Virginia Press, 2013. £37.50 (cloth)." Journal of the Royal Anthropological Institute 20, no. 4 (2014): 800. http://dx.doi.org/10.1111/1467-9655.12138_18.

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Haas, Karl J. "Wyatt MacGaffey. Chiefs, Priests, and Praise-Singers: History, Politics, and Land Ownership in Northern Ghana. Charlottesville: University of Virginia Press, 2013. xii + 227pp. Photographs. Maps. Appendix. Notes. Glossary. Bibliography. Index. $37.50. Cloth and Ebook." African Studies Review 57, no. 2 (2014): 199–200. http://dx.doi.org/10.1017/asr.2014.57.

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Wolińska, Teresa, and Katarzyna Gucio. "Constantinopolitan Charioteers and Their Supporters." Studia Ceranea 1 (December 30, 2011): 127–42. http://dx.doi.org/10.18778/2084-140x.01.08.

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Support in sport is certainly one of the oldest human passions. Residents of the eastern Roman imperial capital cheered the chariot drivers The passion for supporting the drivers was common for all groups and social classes. The hippodrome was visited by the representatives of the aristocracy, artisans and the poor of the city alike. The popularity of chariot racing is evidenced by their frequency 66 days were reserved for circenses, that is racing. Organizing the competition along with all the accompanying events has been an essential task of circus factions (demes) In the empire, there were

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Stachura, J., T. Chuman, and L. Šefrna. "Development of soil consumption driven by urbanization and pattern of built-up areas in Prague periphery since the 19^th century." Soil and Water Research 10, No. 4 (2016): 252–61. http://dx.doi.org/10.17221/204/2014-swr.

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Strzemecka, Joanna. "Idea twórczości i figura artysty w singeries Davida Teniersa Młodszego, Antoine’a Watteau i Jeana Chardina." Artifex Novus, no. 4 (March 9, 2021): 194–205. http://dx.doi.org/10.21697/an.7931.

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Niniejszy artykuł prezentuje problematykę artystycznego naśladownictwa na przykładzie przedstawień małp jako malarzy, rzeźbiarzy i koneserów sztuki, autorstwa Davida Teniersa Młodszego, Antoine’a Watteau i Jeana Chardina. Sceny te należały do gatunku satyrycznych przedstawień funkcjonujących w języku francuskim pod nazwą singerie (fr. singe - małpa, singerie - dosł. małpiarnia), ukazujących małpy podczas parodiowania przeróżnych ludzkich czynności. Niekwestionowanym mistrzem gatunku stał się flamandzki malarz David Teniers Młodszy, który spopularyzował temat małp w rolach artystów, a za nim, p

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Gomis Corell, Joan Carles. "Històries escrites, històries cantades i històries pintades. Els goigs en el Barroc valencià." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 11, no. 11 (2018): 131. http://dx.doi.org/10.7203/scripta.11.12589.

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Resum: A partir de principis de la setzena centúria, la implantació de la impremta i el consegüent afermament de la tradició escrita propiciaren que els goigs iniciaren, particularment a València, un progressiu procés de difusió. El nou invent facilitava incloure a l’estampació la reproducció de la imatge sagrada a la qual anava dedicada la composició, de manera que, a més de transmetre el text de l’oració, assoliren el valor i funció d’estampes devocionals. No incloïen, però, la música, la qual cosa indicaria que hagué de quedar fiada a la memòria i bon fer interpretatiu dels cantors de les c

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Sadovnikova, Olena. "“Ne riday Mene, Mati” (“Do not mourn Me, Mother”): poetics, liturgics, hymnography." Aspects of Historical Musicology 16, no. 16 (2019): 26–51. http://dx.doi.org/10.34064/khnum2-16.02.

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Introduction. The meaning of the Holy Saturday is a transition from Passion week to the Easter, from the greatest grief to jubilation, from death to life. It focuses different ontological extremities in a single point: death of the Immortal and resurrection of mortal body. This engenders maximal concentration of liturgical events, exceptional saturation of the services, revealing ample hymnographic material, diversity of stylistics, ways of incarnating of different senses, approaches to the events happening. One of the most interesting chants of the Passion Cycle is “Ne riday Mene, Mati” (“Do

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Lobanova, I. V. "“Faust” by Ch.-F. Gounod as a debut of a director E. O. Jungwald‑Khilkevych on the Ukrainian National Opera and Ballet Theater stage (1925)." Aspects of Historical Musicology 14, no. 14 (2018): 50–62. http://dx.doi.org/10.34064/khnum2-14.04.

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Background. When Kharkiv was the capital of Ukraine (1917–1934), many outstanding artistic events were happening there, which have not been studied properly up to this day. Among them – an experiment is, that started in 1925. In this time in Kharkiv the Ukrainian National Opera and Ballet Theater was founded. Strictly speaking, the new theater was not created completely anew: the art of opera and ballet had the established traditions in Kharkiv to that time. Yet, it had not been free from certain provincial features, trying to imitate the style of well-known theaters. The new theater was meant

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Afolayan, Bosede Funke. "The Court Poet/Praise Singer in Wole Soyinka's Death and the King's Horseman and Ola Rotimi's Ovonramwen Nogbaisi: a Critical Appraisal." Afrika Focus 32, no. 1 (2019). http://dx.doi.org/10.21825/af.v32i1.11788.

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   Oral artists are a common sight in traditional African societies and were most prominent in old empires such as Oyo, Benin, Songhai and Mali. They also existed in the Zulu empire, northern Nigeria and among the Akan in Ghana. Their place is integral to the social and political well-being of these empires. In the Oyo empire, court poets are known as Olohun-Iyo. They are called griots in Senegal and Mali and among the Akan of Ghana, they are called Kwadwumfo. Modern Nigerian dramatists such as Wole Soyinka and Ola Rotimi have appropriated the image and roles of the court poe

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"GKN Sinter harvests praise at John Deere." Metal Powder Report 60, no. 2 (2005): 8. http://dx.doi.org/10.1016/s0026-0657(05)00334-6.

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Shen, Helen. "Dogs can tell when praise is sincere." Nature, August 30, 2016. http://dx.doi.org/10.1038/nature.2016.20514.

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Ghazalba, Muhammad Ahsana. "SPIRITUAL VALUE OF ALTHUSSER AND IDEOLOGICAL GRAMSCY HEGEMONY ANALYSIS." HUMANIKA 27, no. 1 (2020). http://dx.doi.org/10.14710/humanika.v27i1.28812.

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This study is a literature that is entirely derived from written sources. Sholawat or Singir become the object of research material, The focus of this study is the spiritual values and the ideology contained in sholawat, analysis using the theoryAlthusser and Gramsci's ideological hegemony, Ideology contained in shoalawat namely 1)persuasive,2) Identity, 3) Reward and 4) Punishment, While the spiritual values that exist inside sholawat namely 1)To the praise of the Prophet Muhammad, 2) Birth of the Prophet SAW, 3) Phoenix Prophet Muhammad, 4) Glory Qur'an and praise for, 5) Ascension of the Pr

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"Chiefs, priests, and praise-singers: history, politics, and land ownership in northern Ghana." Choice Reviews Online 51, no. 07 (2014): 51–3925. http://dx.doi.org/10.5860/choice.51-3925.

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Masoga, M. A. "MUSIC KNOWS NO BOUNDARIES: THE CASE OF MME RANGWATO MAGORO." Southern African Journal for Folklore Studies 25, no. 1 (2015). http://dx.doi.org/10.25159/1016-8427/544.

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There is an apparent shift that challenges the so-called ‘established music fields’ to begin dialogue with African music perspectives. In the process of such dialogues and developments, there is a need to recast the importance of unmentioned, unsung and uncelebrated indigenous African music practitioners, composers, performers, poets, and praise singers. In this regard, musical arts education and its process cannot eschew broad educational challenges. The paper argues for the place of indigenous musical arts education experts in the current or mainstreamed musical arts processes. Mme Rangwato

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Asrif, Asrif. "TRADISI LISAN MALE-MALE: NYANYIAN KEMATIAN DALAM MASYARAKAT CIACIA: KAJIAN SOSIOLOGIS DAN UPAYA PEWARISAN." Jurnal Pendidikan Bahasa dan Sastra 12, no. 2 (2016). http://dx.doi.org/10.17509/bs_jpbsp.v12i2.3702.

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Abstrak Tradisi Lisan Male-Male: Nyayian Kematian dalam Masyarakat Ciacia: Kajian Sosiologis dan upaya Pewarisan. Male-Male merupakan syair yang dinyanyikan sesaat setelah seorang warga yang dianggap sosok sempurna meninggal dunia. Tradisi lisan ini menggambarkan penghargaan masyarakat terhadap sosok sempurna melalui ungkapan kesedihan, kerinduan, ketabahan, dan puji-pujian. Pelaksanaan Male-Male memiliki sejumlah fungsi, baik fungsi pribadi (penutur dan tuan rumah) maupun fungsi bagi masyarakat (warga yang melayat). Bagi penutur dan tuan rumah, tradisi ini berfungsi untuk menghibur, kepedulia

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Moraes Farias, Paulo Fernando de. "Bentyia (Kukyia): a Songhay–Mande meeting point, and a “missing link” in the archaeology of the West African diasporas of traders, warriors, praise-singers, and clerics." Afriques, no. 04 (April 16, 2013). http://dx.doi.org/10.4000/afriques.1174.

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Wessell, Adele. "Making a Pig of the Humanities: Re-centering the Historical Narrative." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.289.

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As the name suggests, the humanities is largely a study of the human condition, in which history sits as a discipline concerned with the past. Environmental history is a new field that brings together scholars from a range of disciplines to consider the changing relationships between humans and the environment over time. Critiques of anthropocentrism that place humans at the centre of the universe or make assessments through an exclusive human perspective provide a challenge to scholars to rethink our traditional biases against the nonhuman world. The movement towards nonhumanism or posthumani

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Michielse, Maarten. "Musical Chameleons: Fluency and Flexibility in Online Remix Contests." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.676.

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While digital remix practices in music have been researched extensively in the last few years (see recently Jansen; Navas; Pinch and Athanasiades; Väkevä), the specific challenges and skills that are central to remixing are still not well understood (Borschke 90). As writers like Demers, Lessig, and Théberge argue, the fact that remixers rework already existing songs rather than building a track from scratch, often means they are perceived as musical thieves or parasites rather than creative artists. Moreover, as writers like Borschke and Rodgers argue, because remixers make use of digital aud

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Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each

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