Relevant bibliographies by topics / Sailors' songs

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Sailors' songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Sailors' songs.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Sailors' songs"

1

Burroughs, Robert. "THE NAUTICAL MELODRAMA OFMARY BARTON." Victorian Literature and Culture 44, no. 1 (January 28, 2016): 77–95. http://dx.doi.org/10.1017/s1060150315000431.

Full text
Abstract:
In hisMemoirs of anUnfortunate Son of Thespis(1818), the actor Edward Cape Everard recalled a performance of Sheridan'sSchool for Scandalthat was interrupted in its third act by a rowdy bunch of sailors. At the sight of Charles Surface drinking, the sailors allegedly left the auditorium, entered the stage, and accosted the actor playing Charles, “exclaiming ‘My eyes, you're a hearty fellow! Come, my tight one, hand us a glass’” (qtd. in Russell 104). As apocryphal as the encounter seems, it is not the only account of mariners rushing the early-nineteenth century stage to join in with the drama. In her analysis of these anecdotes Gillian Russell comments that though they may have been intended to depict the sailor “as naïve and unsophisticated, unable to make the distinction between fiction and reality. . . it is not surprising that the sailor should have disregarded the rules of mimesis and the distinction between stage and auditorium” (104), for the sailor's life lent itself to, and was structured by, theatricality. Service in “the theatres of war,” or more generally in the “wooden world” of the ship, demanded strict performance of custom and ritual in the forging of social identities and relations, not least of all in the ritualistic initiation ceremonies and corporal punishments that were enacted in front of the amassed audience of the crew (Russell 139–57; see Dening). At sea and in dock sailors entertained themselves with amateur theatricals. On shore, they were keen theatre-goers, and in auditoriums and elsewhere they played up to the characteristics of the sailor in the brazen assertion of an identity that was celebrated in stories, songs, and plays, but frequently also belittled, bemoaned, and victimized, the latter particularly while the press gangs were active.
APA, Harvard, Vancouver, ISO, and other styles
2

Ellinghausen, Laurie. "“A wife or friend at e’ery Port”." Journal of Medieval and Early Modern Studies 50, no. 2 (May 1, 2020): 431–53. http://dx.doi.org/10.1215/10829636-8219626.

Full text
Abstract:
The “sailor ballads” of the early British Empire employ popular song not only to investigate sailors’ hardships and victories, but to explore the character attributes of seafaring men. This article argues that the range of attitudes and concerns present in these texts signals a larger cultural conversation about these men’s fitness as husbands to the nation’s women, fathers to its children, and members of its communities. Although protoimperialist and mercantilist writers such as John Dee, Robert Hitchcock, and Edward Misselden stressed the social benefits of employing common men in large-scale seafaring projects, the ballads explore the consequences of the common sailor’s presence—and most particularly, his prolonged absence—on the traditional stabilizing structures of family and community. In doing so, the ballads critically examine the potential rewards and consequences of imperial expansion from a terrestrial, local, and communal perspective.
APA, Harvard, Vancouver, ISO, and other styles
3

Cabrera, Daniel Antonio Milan. "PENGARUH MUSIK AMERIKA LATIN TERHADAP INDONESIA." Sorai: Jurnal Pengkajian dan Penciptaan Musik 13, no. 1 (November 20, 2020): 36–50. http://dx.doi.org/10.33153/sorai.v13i1.3093.

Full text
Abstract:
Since the beginning of the last century, Latin American music has been succes in the U.S. music industry because its intrinsic musical characteristics and its involvement within the film industry. Through the U.S. and Europe, it has been influencing popular music around the world; including Indonesia, Malaysia, Singapore, and India, countries that also contributed to the diffusion of Latin styles in Indonesia. The corpus of original works of Indonesian-Latin music is quite huge and has great quality; particularly audio recordings done in the 1950s and 1960s that mixed Latin, Western, and regional musical elements to create new musical forms know as lagu daerah (regional songs) and pop daerah (regional pop). This article aims to provide some understandings of this complex diffusion process utilising mainly a bibliographical research method (books, journals, digital news, etc.), interviews, and listening-based information from old audio recordings. My hipothesis is that Latin American music has been well accepted in Indonesia, espetially in Java and Sumatra, due to historical crossroads that spread musical and cultural similarities in both regions. In order of its importance in Indonesian-Latin music, these are: the conection of Asia and America during the Spanish, Portugal, and Holand colonial era; the Islamic influence in Indonesia, India, Malaysia, and the Iberic peninsula; the influence of Dutch music in Indonesia and German music in Latin America; the role of African music in Latin America and the probable two side influences between Africa and Indonesia; and the inmigration to Amerika from Nusantara-Oceania sailors in prehistoric times.
APA, Harvard, Vancouver, ISO, and other styles
4

Porter, M. Gilbert. "Sailor Song by Ken Kesey." Western American Literature 28, no. 2 (1993): 187–88. http://dx.doi.org/10.1353/wal.1993.0057.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Walser, Robert Young. "Sailor song: the shanties and ballads of the high seas; Boxing the compass: a century and a half of discourse about sailor's chanties." Ethnomusicology Forum 30, no. 1 (January 2, 2021): 166–68. http://dx.doi.org/10.1080/17411912.2021.1931390.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Costa-Giomi, Eugenia. "Recognition of Chord Changes by 4- and 5-Year-Old American and Argentine Children." Journal of Research in Music Education 42, no. 1 (April 1994): 68–85. http://dx.doi.org/10.2307/3345338.

Full text
Abstract:
The purpose of the study was to investigate young children's abilities to discriminate between two chords played as the accompaniment of a melody and played alone with no melody. After receiving brief training in harmonic discrimination, 167 children ages 4 and 5 from four preschools were tested in their ability to discriminate between the chords “I” and “V6/5” in the song “En la Torre de una Iglesia” or between the chords “i” and “VII” in “Drunken Sailor.” ANOVAs with repeated measures were performed for age, school, order of stimulus presentation (within variable), and type of stimulus on children s scores for each song. Both analyses indicated that age, type of stimulus, and the interaction of these two variables affected children's performance in the test significantly. In addition, order of presentation was found to be a significant variable of children's scores for the song “Drunken Sailor.” Five-year-olds could detect harmonic changes in simple chord progressions, but were unable to do so when a melody was superimposed over the progression. Four-year-olds could not identify the chord changes of either stimuli.
APA, Harvard, Vancouver, ISO, and other styles
7

Kim, Eun-Ja. "The Formation and Musical Changes of “Sailors’ Song” in Changgeuk Sim Chong-jeon." Tongyang Ŭmak 37 (June 30, 2015): 7–35. http://dx.doi.org/10.33452/amri.2015.37.7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Van Kessel, Cathryn, and Muna Saleh. "Fighting the plague: “Difficult” knowledge as sirens’ song in teacher education." Journal of Curriculum Studies Research 2, no. 2 (November 28, 2020): 1–20. http://dx.doi.org/10.46303/jcsr.2020.7.

Full text
Abstract:
Of the many plagues that affect communities today, a particularly insidious one is indifference and depersonalization. This plague has been articulated by Albert Camus and then taken up in an educational context by Maxine Greene. In this article we, the authors, respond to Greene’s call to co-compose curricula with our students to fight this plague. Recognizing the role of difficult knowledge as well as conscious and unconscious defenses, we develop an approach to “diversity” harmonious with radical love during these troubled times of conflict and increased visibility of hatred. Through a weaving of our experiential, embodied knowledge with theory, we consider how we might invite students to consider contemporary, historical, and ongoing inequity and structural violence. Like Sirens luring sailors to precarious shores, we seek to entice teachers and students to the difficult knowledge they might otherwise avoid as all of us together consider our ethical responsibilities to each other.
APA, Harvard, Vancouver, ISO, and other styles
9

Garnett, Jane, and Gervase Rosser. "The Virgin Mary and the People of Liguria: Image and Cult." Studies in Church History 39 (2004): 280–97. http://dx.doi.org/10.1017/s0424208400015163.

Full text
Abstract:
We begin with an image, and a story. Explanation will emerge from what follows. Figure 1 depicts a huge wooden statue of the Virgin Mary, once the figurehead on the prow of a ship, but now on the high altar of the church of Saints Vittore and Carlo in Genoa, and venerated as Nostra Signora della Fortuna. On the night of 16-17 January 1636 a violent storm struck the port of Genoa. Many ships were wrecked. Among them was one called the Madonna della Pieta, which had the Virgin as its figurehead. A group of Genoese sailors bought this image as part of the salvage washed up from the sea. First setting it up under a votive painting of the Virgin in the harbour, they repaired it, had it repainted, and on the eve of Corpus Christi brought it to the church of San Vittore, close by the port. A famous blind song-writer was commissioned to write a song in honour of the image. Sailors and groups of young girls went through the streets of the city singing and collecting gifts. The statue became at once the focus of an extraordinary popular cult, thousands of people arriving day and night with candles, silver crowns, necklaces, and crosses in gratitude for the graces which had immediately begun to be granted. Volleys of mortars were let off in celebration. The affair was managed by the sailors who, in the face of mounting criticism and anxiety from local church leaders, directed devotions and even conducted exorcisms before the image. To stem the gathering tide of visitors and claims of miracles, and to try to establish control, the higher clergy first questioned the identity of the statue (some held it to represent, not the Virgin, but the Queen of England); then the statue was walled up; finally the church was closed altogether. Still, devotees climbed into the church, and large-scale demonstrations of protest were held. The archbishop instituted a process of investigation, in the course of which many eye-witnesses and people who claimed to have experienced miracles were interviewed (giving, in the surviving manuscript, rich detail of their responses to the image). Eventually the prohibition was lifted, and from 1637 until well into the twentieth century devotion to Nostra Signora della Fortuna remained strong, with frequent miracles or graces being recorded. So here we have a cult focused on an image of secular origin, transformed by the promotion of the sailors into a devotional object which roused the enthusiasm of thousands of lay people. It was a cult which, significantly, sprang up at a time of unrest in the city of Genoa, and which thus focused pressing issues of authority. The late 163os witnessed growing tension between factions of ‘old’ and ‘new’ nobility, the latter being marked by their hostility to the traditional Genoese Spanish alliance. Hostilities were played out both within the Senate and in clashes in the streets of the city. The cult of Nostra Signora della Fortuna grew up in this context, but survived and developed in subsequent centuries, attracting devotion from all over Italy.
APA, Harvard, Vancouver, ISO, and other styles
10

Lamkin, James E. "“Of Sails and Rudders”: Song of Songs 2:8–13; James 1:17–27; Mark 7:1–8, 14–15, 21–23." Review & Expositor 105, no. 3 (August 2008): 499–506. http://dx.doi.org/10.1177/003463730810500312.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Sailors' songs"

1

Hofmeyr, Andrew James. "Archipelagic thinking in the Indian Ocean world : the story of 'Sindbad the Sailor' and Alan Villiers's Sons of Sindbad." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20693.

Full text
Abstract:
This project focuses on the travel literature produced through the Indian Ocean world of the dhow trade. It examines the medieval story of "Sindbad the Sailor and Sindbad the Porter" alongside the 20th century travel narrative Sons of Sindbad (1940) written by mariner and author Alan Villiers. Both texts engage with the ocean and the ways in which immersion in the watery world result in an uneasy sense of hybridization. In "Sindbad", the sailor's world is represented as a place of deep encounter that renders him indelibly changed and so sets up a paradox between home and away. His voyages and adventures, while often explored purely in terms of their fantastic value, depict an Indian Ocean world that is densely connected through trade and travel. Alan Villiers' narrative uses "Sindbad" as a trope and signifier for this world and through him seeks to rekindle the romance of the free sea and pure-sail that is encroached upon by maritime modernity. Villiers constructs himself as a citizen of the sea and so straddles an uneasy line between the Arab sailors and his own colonial affiliations. It is a position that means he is constantly narrating from a perspective that is simultaneously inside and out. This minor dissertation will look at the way in which travel narratives located in the Indian Ocean render the subjects foreign to themselves and how the sense of identity flux engendered through the tales shed light on and open new paths for enquiry, what I have called archipelagic thinking, focusing not on constructed borders but connectivity across time and between disparate locations.
APA, Harvard, Vancouver, ISO, and other styles
2

Brandt, R. Lynne (Rebecca Lynne). "Transcendentalism and Intertextuality in Charles Ives's War Songs of 1917." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278789/.

Full text
Abstract:
This thesis examines a collection of three songs, "In Flanders Fields," "He Is There!," and "Tom Sails Away," written by Charles Ives in 1917, from primarily a literary perspective involving Transcendentalism and intertextuality. Ives's aesthetic builds upon the principles of Transcendentalism. I examine these songs using the principles outlined by the nineteenth-century Transcendentalists, and Ives's interpretations of these beliefs. Another characteristic of Ives's music is quotation. "Intertextuality" describes an interdependence of literary texts through quotation. I also examine these songs using the principles of intertextuality and Ives's uses of intertextual elements. Familiarity with the primary sources Ives quotes and the texts they suggest adds new meaning to his works. Transcendentalism and intertextuality create a greater understanding of Ives's conflicting views of the morality of war.
APA, Harvard, Vancouver, ISO, and other styles
3

Jeng, Hung, and 鄭紘. "An Analysis and Research of Robert W. Smith “Songs of Sailor and Sea”Artists Symphonic Band Winter Concert "Sea Story"." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/brfm98.

Full text
Abstract:
碩士
東吳大學
音樂學系
104
Abstract "Songs of Sailor and Sea" was commissioned by the Navy Band in 1997, which was dedicated to Lieutenant commander John R. Pastin(?-) who served Navy band for 28 years. This article studied from the beginning of the wind band around Europe and mid. Asia, further more; we discuss the development of the bands of United State of America and Japan. Gathering all these information, we specify the differences of those bands, which established between 18th century to 20th century, and the sound effects, which differ from different instruments they used those days. Moreover, we connect these studies with the composition of Robert W. Smith’s (1958-) “Songs of Sailors and Sea”, to understand the features and the structures of this work.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Sailors' songs"

1

ill, Vitale Stefano, ed. Sailor Song. New York: Clarion Books, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Grey funnel lines: Traditional song & verse of the Royal Navy, 1900-1970. London: Routledge & Kegan Paul, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

National Maritime Museum (Great Britain), ed. Music of the sea. London: H.M.S.O., 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Shanley, John Patrick. Sailor's song. New York, NY: Dramatists Play Service, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Kesey, Ken. Sailor song. New York, N.Y: Penguin Books, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kesey, Ken. Sailor song. London: Corgi, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Kesey, Ken. Sailor song. New York, N.Y., U.S.A: Viking, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kesey, Ken. Sailor song. London: BlackSwan (Transworld), 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Kesey, Ken. Sailor song. New York, N.Y., U.S.A: Viking, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Kesey, Ken. Sailor song. New York, N.Y., U.S.A: Viking, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Sailors' songs"

1

Gilchrist, Paul. "‘Hail, Tyneside Lads in Collier Fleets’: Song Culture, Sailing and Sailors in North-East England." In Port Towns and Urban Cultures, 29–48. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-48316-4_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

"Songs for Sailors and Lovers." In The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4, 55–109. BRILL, 2016. http://dx.doi.org/10.1163/9789004314832_005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Dooley, Gillian. "‘These Happy Effects on the Character of the British Sailor’." In Keeping Family in an Age of Long Distance Trade, Imperial Expansion, and Exile, 1550-1850. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463722315_ch10.

Full text
Abstract:
Songs about sailors were popular during the late Georgian period in Britain. Some were directed towards men in the navy or potential recruits, but they were also part of the musical repertoire of the middle-class drawing room. A common theme is the importance of family life. With large numbers of men needed to serve in the military in this time of war and colonial expansion, it was essential for the home front that their families remained cohesive, and ballads were sometimes written with the express purpose of promoting fidelity and patience on the part of both men and women. This chapter examines the varieties of family and conjugal relations presented in the verbal and musical rhetoric of a selection of these songs.
APA, Harvard, Vancouver, ISO, and other styles
4

Karlin, Daniel. "The one-legged sailor and other heroes." In Street Songs, 82–114. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198792352.003.0005.

Full text
Abstract:
On the streets of Dublin a drunken navvy bawls out fragments of an Irish revolutionary ballad, and a crippled sailor growls out fragments of an English ballad about a crippled sailor, ‘The Death of Nelson’. These popular songs function, in James Joyce’s Ulysses, as mocking reminders of British rule. Nelson, in particular, the ‘onehandled adulterer’, fits the novel’s plot of sexual conquest and betrayal. Yet the wandering sailor’s associations reach to the deepest sources of the book: to Ulysses, to Sinbad, to Homer. (He also has a surprising ‘real-life’ origin in a one-legged Irish sailor who caused a disturbance in the royal box at Ascot in 1832.) His figure, and the song he sings, correspond to other ‘types’ in the novel, intricately doubled and bonded. In the final section of the novel devoted to Bloom, and in Molly’s concluding monologue, these threads of association are woven together.
APA, Harvard, Vancouver, ISO, and other styles
5

Sheppard, W. Anthony. "“Beyond Description”." In Extreme Exoticism, 18–53. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0002.

Full text
Abstract:
Chapter one places music in the context of late 19th-century Euro-American japonisme. The focus is on American perceptions of and reactions to Japanese music encountered in Japan in the second half of the 19th century. Sources include published and unpublished correspondence and diaries of Americans (from Salem sailors to scholars to Gilded Age socialites) who traveled to Japan as well as travel books, scholarly journals, newspapers, and novels set in Japan. The chapter presents the earliest songs, musicals, and plays representing Japan and Japanese music to the American public. Bostonian Japanophiles are central as are American music educators who worked in Japan. The context in which Japanese music was first heard in the U.S., particularly at World Expositions, is explored. These early and primarily negative reports indirectly reveal contemporaneous American musical values and unintentionally marked Japanese music as an ideal model for later modernist composers.
APA, Harvard, Vancouver, ISO, and other styles
6

Waldstreicher, David. "Minstrelization and Nationhood." In Warring for America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631516.003.0001.

Full text
Abstract:
This essay argues that the long-acknowledged first example of U.S. blackface minstrelsy, a song entitled “Backside Albany” or “The Siege of Plattsburgh,” was crucially shaped by its war of 1812 origins. By extension, the essay also argues that blackface minstrelsy can then be understood as one of the effects of the War of 1812. The song, “sung in the character of a black sailor” in Albany and New York in 1814 and 1815, responds to the importance of black sailors and African Americans more generally in the war and in contemporary politics. It tries to contain black assertiveness, but in doing so affirms the centrality of African Americans and their struggles in that moment. I argue that the racializing and demeaning work of blackface minstrelsy must thus be seen as a response to free black politics and to antislavery, and earlier than scholars have contended
APA, Harvard, Vancouver, ISO, and other styles
7

Kvalvaag, Robert W. "CHAPTER 2 “The Titanic sails at dawn”: Bob Dylan, “Tempest”, and the Apocalyptic Imagination." In A God of Time and Space, 47–90. Cappelen Damm Akademisk/NOASP, 2019. http://dx.doi.org/10.23865/noasp.74.ch2.

Full text
Abstract:
“Tempest” is one of the longest songs Dylan has written. His point of departure is the Titanic disaster, but it soon becomes obvious that Titanic is a meta-phor, pointing to something much bigger than the 1912 disaster. “Tempest” is a rich song in the sense that it contains references to many different sources. My aim is to try to uncover some of these, in order to detect how this vast collage is used to create a new story that transcends the original one. It comes as no great surprise that apocalyptic themes literally come to the surface in the song. In what ways does Dylan express his apocalyptic imagination in “Tempest”, and how is this related to other songs in the Tempest album?
APA, Harvard, Vancouver, ISO, and other styles
8

"The Sailor’s Return (Laws N 42)." In Travellers' Songs from England and Scotland, 142–46. Routledge, 2015. http://dx.doi.org/10.4324/9781315645520-39.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"The Dark-Eyed Sailor (Laws N 35)." In Travellers' Songs from England and Scotland, 140–41. Routledge, 2015. http://dx.doi.org/10.4324/9781315645520-38.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"The Sailor Cut Down in his Prime (Laws Q 26)." In Travellers' Songs from England and Scotland, 350–52. Routledge, 2015. http://dx.doi.org/10.4324/9781315645520-129.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Sailors' songs' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography