To see the other types of publications on this topic, follow the link: Song cycles.
Journal articles on the topic 'Song cycles'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Song cycles.'
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.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Turchin, Barbara. "Schumann's Song Cycles: The Cycle within the Song." 19th-Century Music 8, no. 3 (1985): 231–44. http://dx.doi.org/10.2307/746514.
Full text
2
Turchin, Barbara. "Schumann's Song Cycles: The Cycle within the Song." 19th-Century Music 8, no. 3 (April 1985): 231–44. http://dx.doi.org/10.1525/ncm.1985.8.3.02a00050.
Full text
3
Kyriacou, Charalambos P., Harold B. Dowse, Lin Zhang, and Edward W. Green. "A Computational Error and Restricted Use of Time-series Analyses Underlie the Failure to Replicate period-Dependent Song Rhythms in Drosophila." Journal of Biological Rhythms 35, no. 3 (February 25, 2020): 235–45. http://dx.doi.org/10.1177/0748730420901929.
Full textAbstract:
From 1980 to 1991, Kyriacou, Hall, and collaborators (K&H) reported that the Drosophila melanogaster courtship song has a 1-min cycle in the length of mean interpulse intervals (IPIs) that is modulated by circadian rhythm period mutations. In 2014, Stern failed to replicate these results using a fully automated method for detecting song pulses. Manual annotation of Stern’s song records exposed a ~50% error rate in detection of IPIs, but the corrected data revealed period-dependent IPI cycles using a variety of statistical methods. In 2017, Stern et al. dismissed the sine/cosine method originally used by K&H to detect significant cycles, claiming that randomized songs showed as many significant values as real data using cosinor analysis. We first identify a simple mathematical error in Stern et al.’s cosinor implementation that invalidates their critique of the method. Stern et al. also concluded that although the manually corrected wild-type and perL mutant songs show similar periods to those observed by K&H, each song is usually not significantly rhythmic by the Lomb-Scargle (L-S) periodogram, so any genotypic effect simply reflects “noise.” Here, we observe that L-S is extremely conservative compared with 3 other time-series analyses in assessing the significance of rhythmicity, both for conventional locomotor activity data collected in equally spaced time bins and for unequally spaced song records. Using randomization of locomotor and song data to generate confidence limits for L-S instead of the theoretically derived values, we find that L-S is now consistent with the other methods in determining significant rhythmicity in locomotor and song records and that it confirms period-dependent song cycles. We conclude that Stern and colleagues’ failure to identify song cycles stems from the limitations of automated methods in accurately reflecting song parameters, combined with the use of an overly stringent method to discriminate rhythmicity in courtship songs.
4
Weaver, Andrew H. "Memories Spoken and Unspoken: Hearing the Narrative Voice in Dichterliebe." Journal of the Royal Musical Association 142, no. 1 (2017): 31–67. http://dx.doi.org/10.1080/02690403.2017.1286123.
Full textAbstract:
ABSTRACTThe question of what happens when a composer alters a poet's poetic cycle haunts examinations of many song cycles and has proven especially problematic for Robert Schumann's Dichterliebe. The long-held view that Schumann crafted a clear plot from Heine's non-narrative Lyrisches Intermezzo has recently been questioned in favour of a view of the cycle as an incoherent fragment. Using the tools of narratology, this article argues that Dichterliebe is both a fragment and a coherent whole, a string of memories held together by a distinct narrative logic. Identifying two poetic voices illuminates the cycle's narrative strategy and also sheds light on problematic aspects of the music, including Schumann's deletion of four songs, the voice–piano relationship and the enigmatic final postlude. This article proposes answers to age-old questions about Dichterliebe while also offering a fresh approach to the study of song cycles.
5
Mercado, Eduardo, Mariam Ashour, Gala Krsmanovic, and Julia Hyland Bruno. "Regularities in spectral entropy variations within humpback whale song sessions." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A186. http://dx.doi.org/10.1121/10.0018606.
Full textAbstract:
Consecutive songs produced by humpback whales recorded off the coast of Hawaii show recurrent patterns of acoustic variation. Analyses of spectral entropy, a measure of the uniformity of energy distribution in the frequency domain, revealed that spectral entropy cycles in predictable patterns within song sessions. At time scales spanning tens of minutes, variations in spectral entropy appear to track changes in received intensity levels, which are correlated with song duration and may reflect the diving behavior of singers. Intra-individual variations in spectral entropy suggest that singing humpback whales may also vocally control entropic features of songs, both by gradually modulating the acoustic characteristics of units and by varying the amount of time they spend producing specific patterns of units. Preliminary analyses suggest that variations in spectral entropy within song cycles are indicative of the amount of time and energy singers spend producing constant-frequency (CF) elements versus more frequency-modulated/broadband elements. CF elements of units are generally more difficult to spatially localize, but easier to detect over long distances, suggesting that singing humpback whales may be varying the production of consecutive songs in ways that affect auditory spatial processing.
6
Mcloughlin, Michael, Luca Lamoni, Ellen C. Garland, Simon Ingram, Alexis Kirke, Michael J. Noad, Luke Rendell, and Eduardo Miranda. "Using agent-based models to understand the role of individuals in the song evolution of humpback whales (Megaptera novaeangliae)." Music & Science 1 (January 1, 2018): 205920431875702. http://dx.doi.org/10.1177/2059204318757021.
Full textAbstract:
Male humpback whales produce hierarchically structured songs, primarily during the breeding season. These songs gradually change over the course of the breeding season, and are generally population specific. However, instances have been recorded of more rapid song changes where the song of a population can be replaced by the song of an adjacent population. The mechanisms that drive these changes are not currently understood, and difficulties in tracking individual whales over long migratory routes mean field studies to understand these mechanisms are not feasible. In order to help understand the mechanisms that drive these song changes, we present here a spatially explicit agent-based model inspired by methods used in computer music research. We model the migratory patterns of humpback whales, a simple song learning and production method coupled with sound transmission loss, and how often singing occurs during these migratory cycles. This model is then extended to include learning biases that may be responsible for driving changes in the song, such as a bias towards novel song, production errors, and the coupling of novel song bias and production errors. While none of the methods showed population song replacement, our model shows that shared feeding grounds where conspecifics are able to mix provide key opportunities for cultural transmission, and that production errors facilitated gradually changing songs. Our results point towards other learning biases being necessary in order for population song replacement to occur.
7
Kyriacou, Charalambos P., Edward W. Green, Arianna Piffer, and Harold B. Dowse. "Failure to reproduceperiod-dependent song cycles inDrosophilais due to poor automated pulse-detection and low-intensity courtship." Proceedings of the National Academy of Sciences 114, no. 8 (February 7, 2017): 1970–75. http://dx.doi.org/10.1073/pnas.1615198114.
Full textAbstract:
Stern has criticized a body of work from several groups that have independently studied the so-called “Kyriacou and Hall” courtship song rhythms of maleDrosophila melanogaster,claiming that these ultradian ∼60-s cycles in the interpulse interval (IPI) are statistical artifacts that are not modulated by mutations at theperiod(per) locus [Stern DL (2014)BMC Biol12:38]. We have scrutinized Stern’s raw data and observe that his automated song pulse-detection method identifies only ∼50% of the IPIs found by manual (visual and acoustic) monitoring. This critical error is further compounded by Stern’s use of recordings with very little song, the large majority of which do not meet the minimal song intensity criteria which Kyriacou and Hall used in their studies. Consequently most of Stern’s recordings only contribute noise to the analyses. Of the data presented by Stern, onlyperLand a small fraction of wild-type males sing vigorously, so we limited our reanalyses to these genotypes. We manually reexamined Stern’s raw song recordings and analyzed IPI rhythms using several independent time-series analyses. We observe thatperLsongs show significantly longer song periods than wild-type songs, with values for both genotypes close to those found in previous studies. Theseper-dependent differences disappear when the song data are randomized. We conclude that Stern’s negative findings are artifacts of his inadequate pulse-detection methodology coupled to his use of low-intensity courtship song records.
8
Arraut, Eduardo M., and Jacques M. E. Vielliard. "The song of the Brazilian population of Humpback Whale Megaptera novaeangliae, in the year 2000: individual song variations and possible implications." Anais da Academia Brasileira de Ciências 76, no. 2 (June 2004): 373–80. http://dx.doi.org/10.1590/s0001-37652004000200028.
Full textAbstract:
The song of the Brazilian population of the Humpback Whale Megaptera novaeangliae was studied in its breeding and calving ground, the Abrolhos Bank, Bahia, Brazil, from July to November 2000. Aural and spectral analyses of digital recordings were completed for approximately 20 song cycles, totaling 5 hours of song from 10 different recording events. We identified 24 note types, organized in five themes. All songs presented the same themes and the order in which they were sung did not vary. We registered the appearance of a note type and the disappearance of a phrase ending, which indicate that the song changed as the season progressed. Moreover, we detected individual variation in the way singers performed certain complex note types. As songs are transmitted culturally, it is likely that singers have different abilities to compose and/or learn new notes. If, as it has been previously suggested, 'new' songs are preferred to 'old' ones, these more able singers will be sending out information about their learning abilities that could be used by other whales to decide whether or not to interact with them.
9
Howes-Jones, Daryl. "The complex song of the warbling vireo." Canadian Journal of Zoology 63, no. 12 (December 1, 1985): 2756–66. http://dx.doi.org/10.1139/z85-411.
Full textAbstract:
The song of the warbling vireo (Vireo gilvus) was described as a nested hierarchy consisting of four levels: song, figure patterns, figures, and figure regions. Song appeared to be organized as a set of nested undulations or cycles of tone of between 2 and 160 Hz. The dominant feature of song is its complex rhythmic structure. The complexity of song was considered to result from flexibility in the rules which governed how undulations on the various levels were combined. The first and last three figures of song showed characteristic shape. The figure repertoire was graded in form and similar among individuals. Figure patterns gradually changed in consecutive songs and during the season, forming what appeared to be a continuously changing set of themes with variations. Despite this variation, neighbouring males shared a greater number of figure patterns in their repertoires than more distant males. Redundancy, as measured in the first half of song, increased at the onset of nest building and was greatest when the male was sitting on the nest. Characters or structures in song that potentially encode species, individual, contextual, or motivational information were described.
10
Vejvodová, Veronika. "Rané písně Antonína Dvořáka: literární předlohy, rukopisné fragmenty, nakladatelé." Muzeum Muzejní a vlastivedná práce 60, no. 2 (2022): 30–38. http://dx.doi.org/10.37520/mmvp.2022.015.
Full textAbstract:
In his songs from 1865–1882, Dvořák used poems by Czech authors Adolf Heyduk, Eliška Krásnohorská, Karel Jaromír Erben, Serbian folk songs translated by Siegfried Kapper (Czech-German author), Vítězslav Hálek and poems from the Dvůr Králové Manuscript. Most of the texts were probably obtained through Jan Ludevít Procházka, the important figure of Czech cultural life, who initiated Czech song writing for the concerts he organised in Prague. Some of Dvořák’s songs and cycles have survived in fragmentary form (Rozmarýna, s. op. and Like the Moon in the Heavens, No. 12 from Evening Songs, s. op.), some in the two different versions (the song Bouquet from Songs on Words from the Dvůr Králové Manuscript, op. 7). For the purposes of the Simrock edition, the composer arranged the song for the mezzo-soprano Amalie Joachim. Shortly after Dvořák’s establishment of cooperation with the Berlin publisher Simrock, this important publisher released Songs on the Words of Serbian Folk Poetry and four of the Songs on the words from the Dvůr Králové Manuscript. The singer Joachim supported the publishing of these editions, which were also dedicated to her by Dvořák.
11
Trehubov, D., and I. Trehubova. "Relationship of formulas of calendar-ritual and marriage semantics in spring and wedding cycles songs." Culture of Ukraine, no. 72 (June 23, 2021): 45–52. http://dx.doi.org/10.31516/2410-5325.072.07.
Full textAbstract:
The relevance of the study is determined by the need to review the basics of the cultural heritage of the Ukrainian people in the direction of self-understanding and self-identification. Restoration of historical layers of meanings of rituals and the corresponding songs allows to recreate ways of formation of the nation as a whole.
The purpose of this study is to identify and interpret in the song plot “bawdry of a girl” a number of formulas that are used to reveal the subtext of the events being spoken.
The methodology. The article analyzes and systematizes the use of stable formulas within the song plot “bawdry of a girl” and related to him. The application of the selected formulas in the historical aspect to the older examples of song creativity is traced: carols, Christmas carols, spring songs and bathing songs. The research was conducted for the basics of this plot as a reflection of the cult of water and the sun.
The results. The formulas of the plot “bawdry of a girl” (or “girl-spring”) are highlighted: “Three”, treats with drinks, meeting guests, traveling in three stages, a braid, burning a tree, drowning a girl, the promise of a better life, a girl’s conversation during the burning (drowning), a girl-Galya, a guy-Cossack. It is proved that this plot is connected with the movement of the sun, because according to the worldview of the ancient inhabitants of Ukraine, the sun was born somewhere along the Don, and behind the Danube — “died”. It has been determined that standing under a burning pine tree is similar to meeting dawn, and moving towards the Danube moving towards the Danube (from the Don to home) or immersion in the Danube means a ritual death when a girl’s transitions to marriage. An interpretation of the song “The Cossacks rode” was created: a girl with a boyfriend-groom and suitors after a ritual treat went on a ritual journey for a wedding initiation in the woods, where she met the dawn under a pine tree and the groom confirmed it.
The scientific topicality of this study is the use of systematic formula analysis to establish the basics of folk song, which allowed to reformulate the plot of “bawdry of a girl” as a “girl-spring” and separate the later layers from the original plot.
The practical results of this study are the systematization of formulas found in the tragic songs of the spring-wedding cycle within the plot of the “bawdry of a girl”. The paper shows that each of the considered formulas is found in carols, Christmas carols, spring songs and Kupala songs, which allows to combine with them the content of the plot under consideration. Analysis of the formulas used in the plot allows you to see in it the elements of the cults of the sun and water.
12
Hokonov, Murat A., Zalina V. Shoranova, and Ruslan H. Urusov. "The Role and Significance of Music and Song Components in the Mythoepic Picture of the World (On the Material of the Circassian Nart Epic)." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 1 (213) (March 31, 2022): 27–32. http://dx.doi.org/10.18522/2687-0770-2022-1-27-32.
Full textAbstract:
The article presents a philosophical analysis of mythoepic texts and musical components of the Circassian folklore. In particular, the study explores specific epic images and related songs, as well as their cultural and philosophic implications. The role and significance of music culture in the Circassian traditional society are traced using epic narratives. Heroic cycles of the Nart epic are viewed as an art-aesthetic material, where the common plot-compositional centre of the epic culture produces a very specific worldview with a set of cosmogonic mythologies. Using the example of several heroic characters and the cycles of song folklore associated with them, the idea of the multilevel nature of the construction of the ontological foundations of myth and epic is expressed. The paper substantiates the hypothesis that an important factor in the preservation and translation of not only song folklore, but also many other forms of artistic reality is a whole complex of mnemic linguistic and extralinguistic means. It is concluded that the Nart epic in these aspects should be understood not only as an ethical, but also as an aesthetic code of Circassians, where epic texts and songs contain many pre-philosophical universals and ideas.
13
ALT, SHARNA, JOHN RINGO, BECKY TALYN, WILLIAM BRAY, and HAROLD DOWSE. "Theperiodgene controls courtship song cycles inDrosophila melanogaster." Animal Behaviour 56, no. 1 (July 1998): 87–97. http://dx.doi.org/10.1006/anbe.1998.0743.
Full text
14
Athapanyawanit, Kritsana. "Cohesive Devices in Narrative Songs of Jaran Manopetch." MANUSYA 8, no. 2 (2005): 1–13. http://dx.doi.org/10.1163/26659077-00802001.
Full textAbstract:
The main purpose of this study is to explore the cohesive strategies in the narrative lyrics of songs by Jaran Manopetch. The song data used in this research include the lyrics of twenty-eight narrative songs composed and arranged by Jaran Manopetch. The songs are classified as narrative discourse on the basis of two major traits of discourse type identified by Longacre (1983): Contingent Temporal Succession and Agent Orientation. Moreover, the song data are divided into two groups according to terminology and pronunciation of Jaran Manopetch: five standard Thai songs and twenty-three Kham Muang/northern Thai songs were studied. The lyrics’ cohesive devices were analyzed semantically and syntactically according to theoretical frameworks of Robert E. Longacre on the grammar of discourse and of M.A.K. Halliday and Ruqaiya Hasan on cohesion in English. The cohesive devices in the narrative lyrics of Jaran Manopetch include the thematic elements identified by serial thematic verb construction, punctual and sequential indicators of events, structural cohesion: cycles, participant cohesion composed of two sections: introduction and maintenance of participants, demonstrative reference, substitution, ellipsis, conjunctive elements, and lexical cohesion.
15
Setiawan, Cecep. "IMPROVING STUDENTS' VOCABULARY MASTERY THROUGH LISTENING SONG." PROJECT (Professional Journal of English Education) 2, no. 3 (May 11, 2019): 392. http://dx.doi.org/10.22460/project.v2i3.p392-397.
Full textAbstract:
This study discusses and analyzes the use of song in improving vocabulary mastery in listening to seventh grade students’ of Mts Al-Barry Cikalong. The main concern is about the description of song implementation in the classroom and the extent which song can help students’ improve their vocabulary mastery in the listening class. Therefore, this study was conducted to investigate the progress of students’ in terms of vocabulary mastery before and after listening to songs. This study uses classroom action research method. Ideally, classroom activities and assignments that form the methodology for teaching different language skills must be designed by the teacher and must be felt by students. The researcher conducts interviews to provide information and then the results of interviews are developed and analyzed. This data is analyzed through two cycles in action. Students' vocabulary mastery ability increases, we can see from the results of cycle 1 (pre-test) before listening to English song the average score is 52.0, 62.7, 58.6 and cycle 2 (post-test) after listening to English song the average score is 71.3, 83.4, 91.4. As an end point, this research is expected to bring contribution as an alternative technique to improve vocabulary teaching in listening classes as well as to develop teacher creativity.
16
Procházková, Martina. "Songs of Dominick Argento and Their Use for the Teaching of Voice at Faculties of Education." Paedagogia Musica, no. 4 (2023): 21–36. http://dx.doi.org/10.24132/zcu.musica.2023.04.21-36.
Full textAbstract:
The study will aim to characterize the songwriting of Dominick Argento (1927−2019), a leading American composer and Pulitzer Prize winner, and to outline the possibilities of its application in the education of solo singers in faculties of education. Argento’s songwriting is rich (he composed cycles for every voice except bass) but not well known and rarely performed in Europe. It may be due to the difficulty of some cycles and the fact that not all sheet music is readily available. Part of the study presents the musical compositions of Dominik Argento with a focus on songwriting, the characteristics of textual aspects of songs, and the composer’s approach to the musical treatment of song cycles. The second part of the study deals with using Dominik Argento’s songwriting in teaching voice at faculties of education. This section includes a short musical and interpretative analysis of selected songs and suggests specific compositions for voice study. The topic’s treatment benefits Central European vocal teachers and the professional public.
17
McClary, Susan, and Richard Kramer. "Distant Cycles: Schubert and the Conceiving of Song." Notes 52, no. 3 (March 1996): 777. http://dx.doi.org/10.2307/898622.
Full text
18
Steane, John, and Richard Kramer. "Distant Cycles: Schubert and the Conceiving of Song." Musical Times 136, no. 1827 (May 1995): 247. http://dx.doi.org/10.2307/1003918.
Full text
19
Gramit, David. "Review: Schubert's Late Lieder: Beyond the Song Cycles." Music and Letters 84, no. 4 (November 1, 2003): 664–68. http://dx.doi.org/10.1093/ml/84.4.664.
Full text
20
Dahniar, Dahniar. "THE IMPROVEMENT OF STUDENTS’ CREATIVITY AND LEARNING OUTCOMES THROUGH SONG MAKING IN YEAR VII-B STUDENTS OF MTsN 1 WEST ACEH." Pedagogi: Jurnal Ilmiah Pendidikan 7, no. 1 (January 24, 2021): 48–55. http://dx.doi.org/10.47662/pedagogi.v7i1.402.
Full textAbstract:
This study aims to determine "The Improvement of Students’ Creativity and Learning Outcomes through Song Making in Year VII-B Students of MTsN 1 West Aceh ". The sample of this research was the students of Year VII-B, which the total number was 36 students. This study used Classroom Action Research (CAR) with the methods of observation, data collection, tests, documentation and data analysis. This study used two cycles to determine the improvement of students’ creativity and learning outcomes through song making in Year VII-B students of MTsN 1 West Aceh. The results of this study indicated that through making songs, it can improve creativity and learning outcomes of students in Year VII-B of MTsN 1 West Aceh. As for the results, it can be seen from the learning outcomes of the students in the pre-cycle, the first and the second cycles. The students’ learning outcomes in the pre-cycle was only 14 students (38.88%,) who reached the passing grade, in the first cycle, it increased to 26 students (72.22%) and in the second cycle, it was 36 students (100%) reached the passing grade.
21
Pysmenna, Oksana, Svitlana Myshko, and Kateryna Cherevko. "Stylistics of Impressionism in the Song Cycles of Lesia Dychko “Pastels” and “Enharmonic” on the Poems by Pavlo Tychyna." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 159–77. http://dx.doi.org/10.24193/subbmusica.2021.1.11.
Full textAbstract:
"The aim of the work is to determine the influence of the characteristic features of the linguistic and style environment of the second half of the twentieth century on the development of Lesia Dychko's creative personality (on the example of the song cycles Pastels and Enharmonic, written to the words of P. Tychyna). The analyzed song cycles demonstrate the artist’s deep penetration into the figurative concept of the poet's free verses, reflecting its semantic properties by musical means. We notice a lot in common and consonant in the works of both artists, namely, an impressionistic vision and perception of the surrounding world, a deep philosophical understanding of nature, a symbolic load of images. The musical-theoretical analysis of the cycles has shown the principles of the development of material common to poetry and music, such as cross-cutting development, leitmotif, etc. The article reveals another facet of the composer's stylistic direction, namely, the expressive means inherent in impressionism: the coloristic function of harmony, ostinato techniques and organ points, the melodic line of recitative-declamatory or instrumental plan. The overwhelming majority of them correspond to the principles of impressionism in combination with modern innovative techniques of the musical language and personal individual stylistic features of the composer. Keywords: Lesia Dychko, song cycles, poetic and musical texts, poetry of Pavlo Tychyna, impressionism. "
22
Trusenko, Sofiia. "The Specific of Folk Song Arrangements in Yaroslav Vereshchagin's Vocal Cycles." Ukrainian musicology 49 (June 30, 2023): 100–111. http://dx.doi.org/10.31318/0130-5298.2023.49.298986.
Full textAbstract:
It is well known that the genre of folk song arrangement is widespread in Ukrainian music, as the folklore heritage of Ukraine is extremely rich and diverse. It is not surprising that authentic folklore samples have become a source of inspiration for many composers and performers. Artists use the folk melody in their work, embodying it through modern arrangements and processing. This approach allows not only to preserve the historical heritage, but also to give it a new sound. The analysis of musicological research shows that every Ukrainian composer in his work intentionally or subconsciously uses elements of Ukrainian folklore, and Yaroslav Vereshchagin is no exception.
Ya. Vereshchahin (1948-1999) was a bright master of the pen in the field of chamber music, a sophisticated artist of the poetic word. At the moment, the home archive of the composer's daughter Bohdana contains about 120 works of various genres, 48 of which were written for the voice accompanied by piano and chamber ensemble. It is especially worth noting the composer's love for creating vocal cycles: there are 14 of them in his oeuvre, each of which consists of two to four vocal miniatures. Unfortunately, to date, only 11 cycles have been fully discovered, and among them are arrangements of Ukrainian folk songs - two vocal cycles for voice and piano «Two Ukrainian Hayivkas» and «Two Ukrainian Songs». The relevance and novelty of the study lies in the choice of works by Ya. Vereshchagin for analysis that have not been covered yet in musicology.
The object of the study is the vocal cycles «Two Ukrainian Groves» and «Two Ukrainian Songs» by Ya. Vereshchagin. The subject of the study is the specificity of Ya. Vereshchagin's arrangements of Ukrainian folk songs. The purpose of the study is to analyze Ya. Vereshchagin's work with the folklore source on the example of the vocal cycles «Two Ukrainian Groves» and «Two Ukrainian Songs».
In conclusion, on the basis of the analyzed arrangements of Ukrainian folk songs, the basic principles of Ya. Vereshchagin's compositional work with the folklore source is indicated, which allow generalizing the concept of the composer's compositional style on the example of the analyzed works. In the course of a comparative analysis of these arrangements, signs of late Romantic and post-Romantic stylistic coloring are clearly traced, which testifies to the affinity with the compositional vocabulary of Western European and domestic composers of the late XIX - mid XX centuries. In particular, the vividly altered intra-fret dissonance appeals to the creative searches of B. Bartok, Z. Kodály, B. Liatoshynsky, and L. Revutsky. At the same time, in some pieces, in particular in «Willow Plank», one can feel the influence of jazz stylistics inspired by the creative experience of M. Skoryk, whose student Ya. Vereshchagin was.
The aspect considered in the publication suggests further research on the example of analyzing other artistic ideas of the artist, which will be the goal of the author's next work.
23
Agawu, V. Kofi. "Mahler's tonal strategies: A study of the song cycles†." Journal of Musicological Research 6, no. 1-2 (January 1986): 1–47. http://dx.doi.org/10.1080/01411898608574560.
Full text
24
Sinaga, Lenna, and Sri Ninta Tarigan. "IMPROVING THE STUDENTS'VOCABULARY MASTERY BY USING ENGLISH SONG AT MARKUS MIDDLE SCHOOL MEDAN." ELT (English Language Teaching Prima Journal) 5, no. 2 (February 13, 2024): 86–91. http://dx.doi.org/10.34012/elt.v5i2.4774.
Full textAbstract:
This research was aimed to find out the improving students’ vocabulary mastery by using english song . The subject of this research was third grade of Markus Middle School Medan. It was consisted of one class and 26 students as respondents. The object of this research was to improve students vocabulary mastery by using english song. Employing Classroom Action Research (CAR) with two cycles using quantitative methods to gather data through pre-tests and post-tests. The findings revealed that instructional media played a crucial role in enhancing students' listening skills, particularly addressing the limitations in their English vocabulary. This was substantiated by the mean score in the second cycle (60.76%), indicating a 20% improvement from the first cycle's mean score (40.76%). The conclusion drawn was that there was a significant improvement in the ability of class IX-C students at Markus Middle School to listen to a song, as evidenced by higher scores in both content and organization in the second cycle compared to the first. This success reflects a substantial achievement in enhancing students' listening skills.
25
Daikoku, Tatsuya, and Usha Goswami. "Hierarchical amplitude modulation structures and rhythm patterns: Comparing Western musical genres, song, and nature sounds to Babytalk." PLOS ONE 17, no. 10 (October 14, 2022): e0275631. http://dx.doi.org/10.1371/journal.pone.0275631.
Full textAbstract:
Statistical learning of physical stimulus characteristics is important for the development of cognitive systems like language and music. Rhythm patterns are a core component of both systems, and rhythm is key to language acquisition by infants. Accordingly, the physical stimulus characteristics that yield speech rhythm in “Babytalk” may also describe the hierarchical rhythmic relationships that characterize human music and song. Computational modelling of the amplitude envelope of “Babytalk” (infant-directed speech, IDS) using a demodulation approach (Spectral-Amplitude Modulation Phase Hierarchy model, S-AMPH) can describe these characteristics. S-AMPH modelling of Babytalk has shown previously that bands of amplitude modulations (AMs) at different temporal rates and their phase relations help to create its structured inherent rhythms. Additionally, S-AMPH modelling of children’s nursery rhymes shows that different rhythm patterns (trochaic, iambic, dactylic) depend on the phase relations between AM bands centred on ~2 Hz and ~5 Hz. The importance of these AM phase relations was confirmed via a second demodulation approach (PAD, Probabilistic Amplitude Demodulation). Here we apply both S-AMPH and PAD to demodulate the amplitude envelopes of Western musical genres and songs. Quasi-rhythmic and non-human sounds found in nature (birdsong, rain, wind) were utilized for control analyses. We expected that the physical stimulus characteristics in human music and song from an AM perspective would match those of IDS. Given prior speech-based analyses, we also expected that AM cycles derived from the modelling may identify musical units like crotchets, quavers and demi-quavers. Both models revealed an hierarchically-nested AM modulation structure for music and song, but not nature sounds. This AM modulation structure for music and song matched IDS. Both models also generated systematic AM cycles yielding musical units like crotchets and quavers. Both music and language are created by humans and shaped by culture. Acoustic rhythm in IDS and music appears to depend on many of the same physical characteristics, facilitating learning.
26
Primasari, Yusniarsi, and Winarsih. "A Improving The First Year Students’ Vocabulary Skill Using Song at SDN Mojoagung 3, Prambon, Nganjuk in the Academic Year 2021/2022." JOSAR (Journal of Students Academic Research) 8, no. 2 (September 28, 2022): 86–94. http://dx.doi.org/10.35457/josar.v8i2.2405.
Full textAbstract:
Vocabulary is one of the important components of language that must be taught to the students of Elementary School. It is usually taught in relation to four other language skills (listening, speaking, reading, and writing). The vocabulary teaching using song is very effective because children like to sing a song.
Based on the preliminary study, the students who passed the test were 57% and 43% were unsuccessful. It indicated that the student's achievement was low because they did not know the English name for anything about “Happy Birthday”. This problem makes the students lack motivation in learning English. Therefore, this study aimed to improve the students’ vocabulary skills using songs.
The design of this research is a Classroom Action Research. There are two cycles in this research, namely Cycle I and Cycle II. Each cycle consists of four steps: planning, acting (implementing), observing, and reflection. This research took two cycles because it's impossible to improve students’ vocabulary mastery it only took one cycle and also useful to compare the result of the test. The criteria of success of this research if there were that 75% of students scored 60 or higher. The result of the study showed that the number of students in the passing grade (60) has increased. The students who got 60 and more were 57% in the preliminary study. After being taught by song, the students who got 60 and more increased to 71%, and in cycle II increased to 85%.
The improvement could be gained when the student's performance during the learning-teaching process was satisfied. The classroom situation was enjoyable and the students were active during the learning-teaching process. The materials given were suitable for the lessons, attractive, or caught the students’ attention and contextual.
Based on the research analysis as explained above, the researcher concludes that teaching vocabulary through song effectively improves the students’ vocabulary mastery.
27
Нrebeniuk, Nataliіa. "F. Schubert’s last Piano Sonatas in the aspect of his song-like thinking." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 150–63. http://dx.doi.org/10.34064/khnum2-21.10.
Full textAbstract:
Background. Close relationships to a song is one of the constants of F. Schubert’s individual thinking. As it embraces all the genre spheres in composer’s heritage, it acquires a universal status, resulting in interchange of author’s findings in chamber-vocal and instrumental works, particularly piano ones. The researchers reveal influence of songs in non-song works by F. Schubert on two main levels: intonationally-thematical and structural. This raised a question about premises, which had created conducive conditions for integration of compositional principles, characteristic for songs and instrumental works by F. Schubert. This question is regarded on the example of three last Piano Sonatas by F. Schubert. Having been written in proximity to composer’s death, they demonstrated unity of composer’s style, achieved by him by integrating his innovations in song and instrumental genres into a unity of the highest degree. Objectives and methodology. The goal of the given article is to study the structure of selected songs by F. Schubert, marked by throughout dramatic development, and to reveal their influence on composer’s last piano sonatas. In order to achieve these goals, compositionally-dramaturgical and comparative methods of analysis were used. Theoretical preconditions. As a reference point for studying of influence of F. Schubert’s songs on his instrumental works, we might consider an article by V. Donadze (1940). In this research author for the first time formulated a view on composer’s song lyricism not only as on central element of his heritage, but also as on a factor, penetrating and uniting all the genres, in which the composer had worked. Thus, concept “song-like symphonism” entered musicological lexicon. The fruitful idea about song-like thinking of F. Schubert found rich development in numerous works of researchers of next generations and keeps its relevance up to nowadays. Results. Even in the one of the very first masterpieces of a song – “Gretchen am Spinnrade” – the author creates unique composition, organized by a circular symbol, borrowed from J. W. Goethe’s text. Using couplet structure as a foundation, F. Schubert creates the structure in a way, creating illusion of constant returning to the same thought, state, temporal dimension. The first parts of every couplet repeat, the second ones – integrate into a discrete, although definitively heading to a culmination, line of development. Thus, double musical time emerges simultaneously cyclical and founded on an attempt to achieve a goal. In the sonata Allegri, regarded in this article, the same phenomenon is revealed in interaction of classical algorithm of composition and functional peculiarities of recapitulations, which are transformed into variants of exposition. As an example of combination of couplet-born repetitions with throughout development we may name song “Morgengruss” from “Die schöne Müllerin”. The same method of stages in the exposition and recapitulation can be found in sonata Allegro of Sonata in C Minor. Polythematic strophic structure with throughout development is regarded on example of “Kriegers Ahnung” (lyricist Ludwig Rellstab) from “Der Schwanengesang”, which is compared to Andante from the before mentioned Sonata. Special attention is drawn to the cases in which cyclical features, characteristic for F. Schubert’s songs, find their way into sonata expositions and recapitulations. In the first movement of Sonata in B-flat Major these chapters of musical structures consist of three quite protracted episodes, which might be identified as first subject, second subject and codetta, respectively. Each of these episodes has its own key, image and logic of compositionally-dramaturgic process, while being marked by exhaustion of saying, which approximates the whole to a song cycle. The logic governing the succession of the episodes is founded not on causation (like in classical sonata expositions and recapitulations), but on the principles of switching from one lyrical state to another. The same patterns of structure are conspicuous in exposition and recapitulation of the first movement of Sonata in C Minor, in which the first section is marked by throughout development, the second one is a theme with two different variations, and the third one, the one recreating the process of rumination, with long pauses and fermatas, interrupting graduality of the movement, is founded on the contrast between playful and lyrical states. The outer movements of Sonata in A Major consist of several episodes. The first subject in ternary form has contrasting middle section; quite uncommon for F. Schubert linking episode dilates so much its function of “transition” is almost lost; enormous second subject eclipses the codetta in every section; it is an unique world, a palette of moods, images, musical events. Conclusions. Innovativity, characteristic for F. Schubert in the field of Romantic song, reveals itself not only in the spheres of images and emotions, musical language, interaction between vocal melody and piano part, but also in the organization of a structure. This allowed to re-evaluate means of organization of compositionally-dramaturgic process in piano sonatas by the composer as in the genre of instrumental music. While in the songs and song cycles these principles of structure were closely connected to extra-musical content, conditioned by it, in instrumental works, specifically, in piano sonatas, they became a feature of the musical content, immanent for music. This particularly helps to explain, why is it possible to use these principles without song-like intonations, usual for them. By the same token, even in this “isolated” variant they remind of their song origin, so songs and song cycles by F. Schubert become a “program” of his piano sonatas and works in another instrumental genres, in a similar fashion to opera, which has become crucial source for development of classical symphony.
28
Nielsen, Bent. "Cycles and Sequences of the Eight Trigrams." Journal of Chinese Philosophy 41, no. 1-2 (March 2, 2014): 130–47. http://dx.doi.org/10.1163/15406253-0410102009.
Full textAbstract:
This article investigates the original Chinese sources for two circular trigram arrangements that have played a crucial role in numerology associated with the Book of Changes (the Yijing 《易 經》) since the Song dynasty (960–1279). While attempting to clarify the nature and the origins of these and related diagrams, recent secondary literature on topic is reviewed, especially the influential articles by Schuyler Cammann.
29
Kermott, L. Henry, and L. Scott Johnson. "The Functions of Song in Male House Wrens (Troglodytes Aedon)." Behaviour 116, no. 3-4 (1991): 190–209. http://dx.doi.org/10.1163/156853991x00030.
Full textAbstract:
AbstractTo assess the functions of song in male house wrens (Troglodytes aedon), we examined the pattern of song output during different stages of the breeding cycle and behaviour patterns of focal males and conspecifics that were associated with song. We recorded 2093.5 bouts of song from 11 different males in 12 breeding cycles during 3 years. Most song sung prior to pairing is sung at a high volume and is given spontaneously (i.e. is apparently not produced in response to the behaviour of any conspecific). Production of high volume spontaneous song ceased immediately for at least 7 days when the male paired, but resumed immediately upon loss of the mate. Paired males sang high volume spontaneous song after mates began incubating, and almost always sang this song within 10 m of an unoccupied nest site. Several males attracted second mates to these nest sites and immediately ceased their output of high volume spontaneous song. These observations strongly suggest that high volume spontaneous song functions in mate attraction. Male house wrens do not appear to use song on a routine basis to communicate with neighbours or other males. However, they do appear to direct song at other males when territories are threatened. Song is sung at intruders in the territory and at neighbours just establishing a territory of their own. Most song sung after pairing appears to be directed towards mates. We suspect than males use song to inform mates that there is no immediate threat of predation, allowing mates to move quickly to and from nest sites. We discuss the role and benefits of descriptive, correlative studies in assessing song function.
30
Ni Made Asri Suwandesi, Ni Made Ratminingsih, and Kadek Sintya Dewi. "Implementing English Kids’ Song Media to Improve Students’ Vocabulary Achievement." Jurnal Pendidikan Bahasa Inggris undiksha 10, no. 2 (November 16, 2022): 180–86. http://dx.doi.org/10.23887/jpbi.v10i2.54028.
Full textAbstract:
A song becomes a great English learning media in enhance students English skill, especially vocabulary achievement. This study was conducted to improve students’ vocabulary achievement through English kids’ song media in the first academic year. The subjects of this study consisted of 33 fifth-grade students. This study employed Classroom Action Research (CAR). The research design used in this study was a collaborative classroom action research, which means that the researcher collaborated with the real fifth-grade teacher as a collaborator and an observer. This study consisted of two cycles. Each cycle is consisted of two meetings that contained four phases; planning, acting, observing, and reflecting. The data for this study were acquired through observation, post-tests, and interviews. The result of the observations showed that all aspects of the observation checklist were fulfilled and completed well by the researcher in each meeting in the first and second cycles. The improvement could be seen in the increase of students’ mean scores from 64 in the preliminary study, 72 in the first cycle, to 79 in the second cycle. The result of the interview showed that all students gave positive responses to the implementation of English kids’ song media to improve students’ vocabulary achievement in teaching and learning process. Moreover, English kids’ song can be an alternative media in teaching and learning vocabulary.
31
Gramit, David. "Distant Cycles: Schubert and the Conceiving of Song . Richard Kramer ." Journal of the American Musicological Society 49, no. 3 (October 1996): 569–80. http://dx.doi.org/10.1525/jams.1996.49.3.03a00070.
Full text
32
von Schilcher, F. "Have cycles in the courtship song of Drosophila been detected." Trends in Neurosciences 12, no. 9 (January 1989): 311–13. http://dx.doi.org/10.1016/0166-2236(89)90035-0.
Full text
33
Kyriacou, C. P., Marc J. van den Berg, and Jeffrey C. Hall. "Drosophila courtship song cycles in normal andperiod mutant males revisited." Behavior Genetics 20, no. 5 (September 1990): 617–44. http://dx.doi.org/10.1007/bf01065875.
Full text
34
Yelnim, Yelnim, and Sukarta Kartawijaya. "Improving Student’s Listening Skill by Using Song at Second Semester of STIE-SAK Academic Year 2021/2022." JURNAL SYNTAX IMPERATIF : Jurnal Ilmu Sosial dan Pendidikan 2, no. 5 (November 20, 2021): 431. http://dx.doi.org/10.36418/syntax-imperatif.v2i5.109.
Full textAbstract:
This research aims to improve the teaching and learning process in the classroom. The researcher would work together with collaborator in order to see the activities that were done during the research. The data used in this research were listening test, fieldnotes and observation form. For the test, it was done at the end of each cycle. Field notes and observation, those were done by the collaborator who helped the research to collect the data. It was taken during the teaching in the class. The participant was the students at second semester of STIE-SAK academic year 2021/2022. There were some classes in the second semester, the sample was taken randomly. Based on the research finding in two cycles, the researcher came to the conclusion because this research was done in two cycles. First, there was a good improvement from students’ test in cycle one and cycle two. Students’ mean score in cycle one was 56, 37 % and increased to 69, 19%. It meant that students’ listening skill was improved after implementing song in teaching English especially in teaching listening at second semester of STIE-SAK especially in the class 2M3 academic year 2021/2022. The students showed positive attitudes towards listening lesson. There are some factors improve student’s listening skill namely song as media improves the students’ interest and motivation, song as teaching media can be implemented with various techniques in teaching learning process, song develops students’ background knowledge, and teaching activities.
35
Peixoto, Alexandre A., and Jeffrey C. Hall. "Analysis of Temperature-Sensitive Mutants Reveals New Genes Involved in the Courtship Song of Drosophila." Genetics 148, no. 2 (February 1, 1998): 827–38. http://dx.doi.org/10.1093/genetics/148.2.827.
Full textAbstract:
Abstract cacophony (cac), a mutation affecting the courtship song in Drosophila melanogaster, is revealed to cause temperature-sensitive (TS) abnormalities. When exposed to high temperatures (37°), cac flies show frequent convulsions and pronounced locomotor defects. This TS phenotype seems consistent with the idea that cac is a mutation in a calcium-channel gene; it maps to the same X-chromosomal locus that encodes the polypeptide comprising the α-1 subunit of this membrane protein. Analysis of the courtship song of some TS physiological mutants showed that slowpoke mutations, which affect a calcium-activated potassium channel, cause severe song abnormalities. Certain additional TS mutants, in particular parats1 and napts1, exhibit subtler song defects. The results therefore suggest that genes involved in ion-channel function are a potential source of intraspecific genetic variation for song parameters, such as the number of cycles present in “pulses” of tone or the rate at which pulses are produced by the male's courtship wing vibrations. The implications of these findings from the perspective of interspecific lovesong variations in Drosophila are discussed.
36
Zhao, Jun, and Marianne Zhao. "Political Meanings Hidden Behind Enchanting Melodies: How China Delivered Ideological Messages in the Song Cycle “Four Seasons of Our Motherland”." Folklore: Electronic Journal of Folklore 88 (April 2023): 219–34. http://dx.doi.org/10.7592/fejf2023.88.zhao_zhao.
Full textAbstract:
Music draws influence from its surroundings and thus, with its political and social setting, becomes a part of the dynamic relationship. The aim of this article is to investigate and introduce this particular feature in the context of Chinese culture and explain, with the help of Zheng Qiufeng’s song cycle “Four Seasons of Our Motherland”, how politics play a part next to folk music elements, enchanting melodies, and patriotic lyrics. The song cycle in question was chosen as an example of how politics can be subtly included in the musical plot. It is one of the very few Chinese song cycles, the most well-known one, and made unique by the inclusion of minority characteristics from different Chinese regions together with its distinctive ideological mission.
37
Walton, Chris. "Beethoven 's Blue Remembered Hills." New Sound, no. 60-2 (2022): 221–28. http://dx.doi.org/10.5937/newso2260221w.
Full textAbstract:
Various commentators have noted Beethoven's use of a monotone in the second song of his cycle An die ferne Geliebte, where the repetition of a single note serves to conjure up the power of memory. This monotone served as a model for several subsequent composers of song cycles, often in a similar context when their singer/narrator recalls things that are past - from Peter Cornelius to Arnold Bax. In the case of Arthur Somervell's A Shropshire Lad, a further correlation is found between his poet's "blue-remembered hills" and Beethoven's "Berge so blau".
38
Berg, Gregory. "The Media Gallery." Journal of Singing 80, no. 2 (October 25, 2023): 243–49. http://dx.doi.org/10.53830/cwpt9487.
Full textAbstract:
The first review in this installment of the Media Gallery is of an art song collection titled Force of Nature by soprano Emily Albrink that she created as a memorial to her mother, pianist Nancy Albrink. It features song cycles by Rene Orth, Nailah Nombeko, Steve Rouse and Jake Heggie. The second review is of Renée Fleming: Greatest Moments at the Met, which offers up excerpts from seventeen of the operas she has performed at the Met. The third and final review is an overview of offerings by the streaming service BroadwayHD.
39
Dhaifi, Ilzam, and Yayuk Putri. "POLA PENGASUHAN DAN PENINGKATAN ASPEK PERKEMBANGAN PENGETAHUAN MORAL MELALUI GERAK DAN LAGU PADA ANAK USIA DINI." Atthufulah : Jurnal Pendidikan Anak Usia Dini 3, no. 2 (April 15, 2023): 110–18. http://dx.doi.org/10.35316/atthufulah.v3i2.2880.
Full textAbstract:
Moral development needs to be instilled from an early age, including awareness of gender differences. Moral instillation in children will hopefully have implications for their awareness and sensitivity about pro-social conditions that must be built properly. One of the actions of instilling moral education through music activities is movement and the song "touch is not allowed". The aims of the study were 1) to describe the implementation of movement and song activities in improving children's sexual moral education, 2) to find out the results of the development of sexual moral education in children. The research method used was Classroom Action Research (PTK) which was carried out in two cycles in Group A2 RA Mujahidin Sumberkima Bali. The research data was collected through observation techniques, documentation, and analysis of child development outcomes. The results of the study concluded that 1) activities to increase the knowledge of AUD sexual Moral Education through gestures and touching songs are not permitted by mentioning which limbs may be touched and which cannot be touched, singing and imitating movements and songs, touching is not permitted, 2) movement activities and songs are able increasing the development of children's sexual moral understanding in cycle 1 by 53% and increasing in cycle II by 92% and this shows the category of achieving the target of completeness. The results of this study indicate that knowledge of sexual moral education by practicing movements and songs has implications for increasing knowledge of sexual moral education in early childhood at this research location.
40
Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.
Full textAbstract:
Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.
41
I., Moses, and Agbenyo S. "Liederkreis: Towards a Pedagogical Insight." Journal of Advanced Research and Multidisciplinary Studies 3, no. 2 (August 22, 2023): 48–57. http://dx.doi.org/10.52589/jarms-nqorvw68.
Full textAbstract:
The German term, Liederkreis, translated as a song cycle, refers to a group or cycle of individually completed songs, designed to be performed in a sequence as a unit. This paper employs a bibliographic strategy, seeking to trace the evolution of this musical genre, and determine its implication for music pedagogy, premised on the theory of contiguity. Saturated data, collected through document review, were subjected to thematic-textual analysis. Findings suggest that song cycles emerged, towards the end of the Classical period and rose to their highest point in the Romantic period, with Beethoven having the credit for pioneering the genre. The study also revealed that in Leiderkreis, key relationship is important and plays a coherent role by making the songs an organic, composite whole in a manner which could be either formal or dynamic. It was concluded that Liederkreis has rich pedagogical prospects due to its focus on the strengths, talents, abilities of every student. The study recommended deliberate and adequate use of Liederkreis in the music classroom. By doing so, students could learn to value each other’s uniqueness in strengths, abilities, and competencies thereby promoting a community of learners where music teaching and learning becomes simplistic and organic, allowing all to grow and bloom. Future research will examine the extent to which Liederkreis has been employed in various music instructional contexts.
42
Kusmalia, Rikha, and Hanita Hanita. "MENINGKATKANKEMAMPUAN MOTORIK KASARANAK MELALUI GERAK DAN LAGU USIA 5 – 6 TAHUN DI TKPGRI MARANGKAYU TAHUN AJARAN 2017/2018." Jurnal Warna : Pendidikan dan Pembelajaran Anak Usia Dini 2, no. 2 (February 7, 2018): 27–37. http://dx.doi.org/10.24903/jw.v2i2.192.
Full textAbstract:
This study aims to improve 5-6 year old students’ gross motor skill through song and movement in PGRI Kindergarten Marangkayu, as well as, to revel and explain the obstacles and supporting factors.The main theory referred in this study is based on curriculum 2013 about early childhood education, regarding to the characteristics of teaching young learnes ; 1) develop learner’s development optimally which covers the aspect of religious and moral value, physical-motor skill, attitude, knowledge, and skill; 2) apply thematic learning and scientific approach in stimulating education; 3) use authentic assessment in observing learner’s development , and 4) empower parents’ rolein learning process.The researcher conducted a classroom action research which involved students of PGRI Kinfergarten as the research subjects. The learning activity carried out by the researcher was by using movement and songs during two cycles, wherein each cycle consists of three mettings.The result of analysis show that the activity of song snd movement managed to improve students’ gross motor skill, which can be seen in the recapitulation of percentage of students’ gross motor skill assessment. At cycle 1, the average score was 53,7%, meanwhile, in cycle 2, becoming 97,9%
43
FERRIS, DAVID. "Review: Schubert's Late Lieder: Beyond the Song-Cycles by Susan Youens." Journal of the American Musicological Society 59, no. 1 (2006): 215–20. http://dx.doi.org/10.1525/jams.2006.59.1.215.
Full text
44
Brukman, Jeffrey. "Aspects of musical modernism: the Afrikaans song cycles of Cromwell Everson." Journal of Musical Arts in Africa 8, no. 1 (December 2011): 1–21. http://dx.doi.org/10.2989/18121004.2011.652353.
Full text
45
Rifai, Muhammad. "VOCABULARY IMPROVEMENT THROUGH SONG MEDIA TO CREAT A NARRATIVE STORY FOR CLASS 9 STUDENTS." Jurnal Cerdik: Jurnal Pendidikan dan Pengajaran 1, no. 1 (December 21, 2021): 95–103. http://dx.doi.org/10.21776/ub.jcerdik.2021.001.01.08.
Full textAbstract:
This study aims to determine how song media in English learning can improve narrative writing outcomes in 9H grade students of SMP Negeri 1 Batu in the odd semester of the 2018 – 2019 school year. The method used in this study is Class Room Action Research. which consists of 2 cycles, using a scientific approach, which consists of observing, asking questions, collecting data, associating and communicating. The conclusion is that learning English using song media in increasing students' vocabulary can be used as an alternative media to motivate students, especially in writing narrative stories. Kata kunci : Kosakata, media lagu, menyusun cerita naratif
46
Stein, Robert. "BBC Proms 2015: Hugh Wood, James MacMillan, Luke Bedford and Colin Matthews." Tempo 70, no. 275 (December 7, 2015): 85–86. http://dx.doi.org/10.1017/s0040298215000686.
Full textAbstract:
‘Love poems are the best things to make song cycles out of’, Hugh Wood claimed in a pre-Prom interview. Wood's affection for English poetry dates back a long way: Scenes from Comus, his Milton setting premiered at the Proms in 1965 set his career going.
47
Berg, Gregory. "The Media Gallery." Journal of Singing 80, no. 4 (March 2024): 491–95. http://dx.doi.org/10.53830/sing.00036.
Full textAbstract:
Abstract: This edition of “The Media Gallery” includes an overview of the Broadway Podcast Network with several noteworthy podcasts specifically highlighted. There are also reviews of an arias album by baritone Stephen Powell as well as a collection of four song cycles by composer Frank Felice.
48
Gutov, A. M., and L. A. Gutova. "Intraspecific relationships between types of epic." ADYGHE INTERNATIONAL SCIENTIFIC JOURNAL 23, no. 3 (2023): 73–82. http://dx.doi.org/10.47928/1726-9946-2023-23-3-73-82.
Full textAbstract:
The article discusses the features of the interaction between two varieties of the Adyghe (Circassian) folk epic, archaic legends about the mythical heroic Narts and cycles of historical and heroic songs and legends. as an example, a song is considered, which, in its poetic organization and musical texture, represents the phenomenon of the historical and heroic epic, but with the theme and nomenclature of characters is directly related to the cycles of Nart legends. In this regard, it is customary to attribute this work to the category of borderline ones that arose at the stage of completion of the greatest productivity of archaic cycles and the promotion of works of the historicalheroic variety of the epic to the fore. Attention is drawn to the facts of the reverse influence of the poetics and style of the younger epic on the structure of the genre formation typologically preceding it. It is established that this happens not at the stage of formation of the poetics of the younger epic, but as a result of a more complex process – the joint productive functioning of various genres of folklore, but on the condition that one of the phenomena occupies a dominant position and acquires the ability to influence genres and genres adjacent to it. varieties.
49
Filatova, Magdalena. "THE WORKING-BEE NON-MEASURED SONG IN THE PIRIN FOLKLORE REGION – ESSENCE, FORMAL AND STRUCTURAL SPECIFICS." Knowledge International Journal 34, no. 6 (October 4, 2019): 1717–22. http://dx.doi.org/10.35120/kij34061717f.
Full textAbstract:
One of the most widespread and striking folklore cycles in the Pirin region are the songs sung at a working-bee. They represent almost 1/3 of the song diversity of this region and are a preferred genre among the local population. A large part of the working-bee songs distributed in the Pirin region are non-measured. Their non-measured nature is determined primarily by their function as songs accompanying a particular work activity. The working-bee non-measured songs are an integral part of the life of the Pirin population. They are performed during the doing of some common work – tobacco stringing, sewing, knitting and are sung mainly by young people in the village - boys, girls, young brides. Some working-bee songs have a specific purpose in the work process. There are songs for starting the working-bee and songs that are sung when the girls are going out of the bee, as well as spring and autumn bee songs. Antiphonic singing is also typical of this type of non-measured songs. During the common labor activity, more people meet together in one place, which favors the emergence of various and interesting forms of performance. Often singers are split into two groups of two or three singers, with one group singing in and the other singing out. The performance of the working-bee non-measured songs is characterized by sharp, ringing sound, and the singing is intense, open. In formal-structural terms, non-measured working-bee songs are extremely diverse. There are one-tone and two-tone songs, and more and more often nowadays, the old local two-voice is being replaced by the performance of songs in parallel thirds. The working-bee song cycle is particularly rich in a variety of subjects. There are historical, haiduk, heroic stories, songs related to daily work, family life, love. For the most part, working-bee non-measured songs in the Pirin region are performed in a two-tone manner, mostly the old, local songs. The homophonic ones that have arisen in recent times are mostly with historical themes, reflecting events from the Liberation Wars, the Balkan War, etc., as well as songs with a love theme. The so-called working-bee choruses are also very common in this region, sung in a variety of tunes, some of which are not local but come from other folklore areas. Due to their peculiarities and characteristics, the working-bee non-measured songs are defined as a specific song group in the musical folklore of the Pirin region. This paper examines and analyzes their peculiarities in terms of their formal-structural components - melody, musical form, ambitus, mode, polyphony, ornamentation, rhythmic characteristic, the purpose of which is to highlight their distinctive features and specifics.
50
Yakimenka, Tamara. "Landscapes of the Belarusian ethnic music of archaic layer: aspects of study (based on publications of ethnomusicological works of young musicologists BSC / BSAM 1991–2013)." Ethnomusic 16, no. 1 (2020): 170–88. http://dx.doi.org/10.33398/2523-4846-2020-16-1-170-188.
Full textAbstract:
Digests of articles by young musicologists of the Belarusian State Academy of Music, devoted to revealing the landscape panorama of the Belarusian ethnomusical culture of ritual genesis, are examined [1–5]. It’s shown that the considerations of young researchers published in the ethnomu- sicological editions of 1991–2013 aim at studying the autochthonous and historically deep phenomena of the Belarusian folklore fund, at revealing the features of ethnic song and instrumental melos in ritual complexes of calendar-farming and life cycles. A significant part of the research is devoted to the disclosure of typology, melo- geography, functional load, intonational, structural-rhythmic-compositional and eth- nophonic characteristics of song-ritual and instrumental practices of different regional and local traditions. In the subject spectrum of the articles the important issues are the sound world of ethno-song archaic layer considered in the aspect of mytho-sound-poetics [5], the pitch, articulation and ethnophony of the ancient melos, conditioning thereof by the signal-communicative sound activity as a factor of stability of ritual sound standards in the musical consciousness of carriers for many centuries. The ‘song territories’, which, as a result of placement on the borderland of his- torical-ethnographic and ethnocultural areas, are marked by a variety of linguistic in- fluences, the coexistence of diverse anthropological types in the autochthonous popu- lation (with the appropriate difference in beliefs, ritual practices and lifestyles) found their study in the issues of the ethnomusicological series. The ethno-song loci of various scales and levels – from their intraregional spe- cies (‘local’, ‘special’, ‘island’) [4] to status ones for ethnomusical cultures (the so- called ‘regional borderland’) [5] are studied. An ethnopsychological consideration is reflected in a number of articles [4]. Among the objects studied by young musicians there are significant ones in the ethnomusic culture of Belarusians song forms of the ‘Valachobny’ (Easter) and St George Day ancient rituals [1], congratulatory visiting rituals of the Carol period and the ‘Yashchar’ roundelay-game action assigned to the time of the Philippe post (Ad- vent) [2], childbirth and narrative (ballad) songs [4], groups of ‘Rajok’–‘Sparysh’– ‘Dazhynki’ (end of the Harvest) and ‘Aviasets’ (autumn) songs of Poozer’e (Lake district) [4], song traditions of the Maslenitsa (Shrovetide) ceremonies [4], the lead of the ‘Arrow’, ‘Rusal’, spring swings [5]. In the series of ethnomusicological collections of 1991–2013 landscapes of the ancient ethnomusic culture in its ‘Belarusian’ area on the territories of the Western Dvina basin, the upper course of the Dnieper, Dnieper–Druts–Berezina interfluve, Po- nemanje [1–5] were disclosed from the positions corresponding to the leading direc- tions of modern ethnomusicology. 187 The perspective of the researches carried out by young musicologists, their level and directly the potential of scientific problems were confirmed later in ethnomusico- logical dissertations [6–10], audio collections of the ‘Audio Atlas of the Traditional Musical Culture of Belarus’ and monographs [11–13].