Relevant bibliographies by topics / Songish

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Songish'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Songish"

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Denning, Michael, and Gary Tomlinson. "Cantologies." Representations 154, no. 1 (2021): 113–28. http://dx.doi.org/10.1525/rep.2021.154.9.113.

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Cantology names an approach to the songish impulses that are a ubiquitous aspect of human cultures. It aims to divert our attention from the more restricted objects of musicological and ethnomusicological scrutiny by discerning song formations, conditions of possibility that define experiences of society and history along songish lines. These formations, local phenomena in cantology’s broad purview, emerge from the interactions of levels of cultural production including the performative, the discursive, the metadiscursive, and the archaeological. We outline a cantological theory, then briefly characterize four successive song formations in the West, reaching from the sixteenth century to the twenty-first.
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Chen, Ai-Hwa. "Perspectives upon Integrating Music into Freshman English Pronunciation Training Classroom." Asian Journal of Education and Training 2, no. 1 (June 16, 2016): 16–22. http://dx.doi.org/10.20448/journal.522/2016.2.1/522.1.16.22.

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This study explores the effects of integrating music into English pronunciation practice. Ninety-five English major students from a technological university located in central Taiwan participated in this project. Six songs were selected and played by means of using YouTube. Students were given a list of vocabulary words selected from the lyrics and learned pertinent pronunciation rules that were augmented with phonetic symbols. They were asked to take quizzes that required memorizing the song’s lyrics. The findings point out that almost all students enjoyed listening to songs and indicated that they had become more familiar with many English songs and the rules of pronunciation by practicing singing and memorizing the lyrics.
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Nurman, Moh, and Lidia Dindiana. "METAPHORS ANALYSIS IN BRING ME THE HORIZON’S “AMO” ALBUM SELECTED SONG LYRICS." E-LINK JOURNAL 8, no. 1 (June 30, 2021): 40. http://dx.doi.org/10.30736/ej.v8i1.424.

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The aims of this research is to know the types of metaphors found in Bring Me The Horizon’s “Amo” album selected song’s lyrics and what is the intended meaning of the song’s lyrics. There are two research questions. They are: 1) what types of metaphors are found in Bring Me the Horizon’s selected song lyrics? 2) What is the intended meaning of the song’s lyrics? The reason behind this research was conduct is to get more knowledge about figurative language especially metaphor and how it works in the literary world. This research uses descriptive qualitative method in analyzing the lyrics. The result of this research shows six types of metaphors by Newmark. Those are dead, cliché, stock, recent, original metaphor and simile. Two out of their three songs of Bring Me the Horizon, that is Medicine and In the Dark use dead metaphor and simile the most. It is then concluded that the intended meanings of their three songs is to tell other people who ever felt belittled, have social issues or being looked down to keep going and not affected by those hurtful words. In other words, Bring Me the Horizon uses the function of figurative language especially metaphor to express their message and applied them into their works. Keywords: Metaphor, meaning
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Interiano, Myra, Kamyar Kazemi, Lijia Wang, Jienian Yang, Zhaoxia Yu, and Natalia L. Komarova. "Musical trends and predictability of success in contemporary songs in and out of the top charts." Royal Society Open Science 5, no. 5 (May 2018): 171274. http://dx.doi.org/10.1098/rsos.171274.

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We analyse more than 500 000 songs released in the UK between 1985 and 2015 to understand the dynamics of success (defined as ‘making it’ into the top charts), correlate success with acoustic features and explore the predictability of success. Several multi-decadal trends have been uncovered. For example, there is a clear downward trend in ‘happiness’ and ‘brightness’, as well as a slight upward trend in ‘sadness’. Furthermore, songs are becoming less ‘male’. Interestingly, successful songs exhibit their own distinct dynamics. In particular, they tend to be ‘happier’, more ‘party-like’, less ‘relaxed’ and more ‘female’ than most. The difference between successful and average songs is not straightforward. In the context of some features, successful songs pre-empt the dynamics of all songs, and in others they tend to reflect the past. We used random forests to predict the success of songs, first based on their acoustic features, and then adding the ‘superstar’ variable (informing us whether the song’s artist had appeared in the top charts in the near past). This allowed quantification of the contribution of purely musical characteristics in the songs’ success, and suggested the time scale of fashion dynamics in popular music.
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Black, Fiona. "BEAUTY OR THE BEAST? THE GROTESQUE BODY IN THE SONG OF SONGS." Biblical Interpretation 8, no. 3 (2000): 302–23. http://dx.doi.org/10.1163/156851500750096363.

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AbstractThe expressions of love and desire made by the lovers in the Song of Songs include intimate and detailed poetic descriptions of the body. These often cause difficulty for interpreters because the imagery used is cryptic and seemingly nonsensical. Biblical scholars frequently express some discomfort or embarrassment over this language, yet largely maintain the view that it should be interpreted positively—as complementary and loving description. In all this, they are bowled over by their own amorous relationships with this text, which make them stutter and fumble almost as much as the Song's lovers do. This essay looks at (scrutinizes) the bodies in the Song of Songs—the physical bodies described in the Song and the textual body (corpus) with which readers engage. The literary and artistic construct of the grotesque serves—ostensibly perversely—as a heuristic for viewing bodily imagery and readerly desire. The grotesque's emphasis on the exaggerated and hybridised body and its weavings of the comic and the terrifying facilitate an investigation of the Song's gender politics and its complicated and potentially conflicting presentation of desire.
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Griffiths, Dai. "Internal rhyme in ‘The Boy with a Moon and Star on His Head’, Cat Stevens, 1972." Popular Music 31, no. 3 (October 2012): 383–400. http://dx.doi.org/10.1017/s026114301200030x.

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Abstract‘The Boy with a Moon and Star on His Head’ was written and recorded by Cat Stevens in 1972. This paper briefly examines the song's subject matter, before analysing its musical structure and that of the words to the song. As well as the standard pattern of end rhyme, a pattern of internal rhyme is also analysed, using tools derived from literary analysis. The words to the song are transcribed by a method which mediates between transcription of the words that make it look like a poem and the words as they appear in sheet music. Finally, the song's pattern of internal rhyme is placed into a context that includes songs as well as poems, suggesting that the song is an exception that suggests a rule for words in the singer-song at the time of the song's appearance.
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Brenner, Athalya. "To See Is To Assume: Whose Love Is Celebrated in the Song of Songs?1." Biblical Interpretation 1, no. 3 (1993): 265–84. http://dx.doi.org/10.1163/156851593x00160.

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AbstractThree characteristic features of the Song of Songs are its (a) disjointed or absent plot, (b) gynocentrism and (c) lack of theocentrism. Recognition of these features facilitates a reassessment of the book's allegorical readings, be they ancient or modern, Jewish or Christian, religious or ostensibly secular. The principal readings discussed are Rabin's reconsideration of the Song's intrinsic allegorical properties with reference to Tamil love poetry; M. Cohen's on the Song and Jewish mystical literature (the Shiur Qomah and Hekhalot Rabbati); Murphy's position of reading mutually reflected human love and divine love in the Song; Pope's identification of the Song's assumed, single female protagonist as a black goddess; and Fox's rejection of allegory because of his definitions of metaphor, metaphoric distance and meaning. In conclusion, some reflections on the (ancillary) development of the Jewish allegorical tradition and its links with the Song's cannonization are offered.
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Wafa, Mochammad Usman, Neli Purwani, and Abdul Malik. "Characteristics of Titounis Children Songs: A Study of Songs, Music Instruments and Onomatopoeia." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 161–66. http://dx.doi.org/10.15294/harmonia.v20i2.25539.

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The purpose of the study is to describe an analysis of children’s song characteristics Titounis. This study used a musicological approach to recognize songs’ characteristics. The data collection were document study and, listen and take note. This study used a content analysis technique. The analysis cover three aspects: (1) songs’ analysis, (2) instruments’ analysis, (3) Onomatopoeia. The songs that were analyzed were (1) Petit Escargot, (2) Le Roues de l Autobus, (3) Les Chiffres, (4) Un kilometer en Roulant. In the song analysis, the patterns used were general patterns, using fun and cheerful vocals, strong tonal stress, relatively limited variations in tones, slow, fast, and gradual tempo. The delivery style invites singing as well as dialogue or interaction. Then in musical instruments, the melody variations of each instrument form harmonization, the use of non-musical instruments emphasizes the theme of the song and provides the experience of hearing about the environment. The onomatopoeic analysis shows sound vroom (car), pataboum (jumping passengers), bip-bip-bip (serine), suisse-suisse (wiper). The onomatopoeia of Titounis songs serves to strengthen the song’s theme.
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BRAAE, NICK. "Sonic Patterns and Compositional Strategies in Queen's ‘Bohemian Rhapsody’." Twentieth-Century Music 12, no. 2 (August 26, 2015): 173–96. http://dx.doi.org/10.1017/s147857221500002x.

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AbstractQueen's ‘Bohemian Rhapsody’ (1975) has been the subject of many academic analyses; the song has not been considered, however, in the context of Queen's wider output. This article examines ‘Bohemian Rhapsody’ in relation to Queen's idiolect as identified from the group's songs written between 1973 and 1975. ‘Idiolect’ refers to the common musical details of an artist's output or segment of their output. I subdivide the category of an idiolect to include sonic patterns and compositional strategies. The former accounts for patterns that are consistent in their presentation across songs, the latter accounts for patterns that differ in their presentation across songs. The formal and harmonic structures of ‘Bohemian Rhapsody’ reflect the group's common compositional strategies; the song's textural arrangements highlight Queen's sonic patterns. ‘Bohemian Rhapsody’ occupies a unique place in Queen's output, as the first song to present all the major elements of the group's idiolect.
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Askin, Noah, and Michael Mauskapf. "What Makes Popular Culture Popular? Product Features and Optimal Differentiation in Music." American Sociological Review 82, no. 5 (September 6, 2017): 910–44. http://dx.doi.org/10.1177/0003122417728662.

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In this article, we propose a new explanation for why certain cultural products outperform their peers to achieve widespread success. We argue that products’ position in feature space significantly predicts their popular success. Using tools from computer science, we construct a novel dataset allowing us to examine whether the musical features of nearly 27,000 songs from Billboard’s Hot 100 charts predict their levels of success in this cultural market. We find that, in addition to artist familiarity, genre affiliation, and institutional support, a song’s perceived proximity to its peers influences its position on the charts. Contrary to the claim that all popular music sounds the same, we find that songs sounding too much like previous and contemporaneous productions—those that are highly typical—are less likely to succeed. Songs exhibiting some degree of optimal differentiation are more likely to rise to the top of the charts. These findings offer a new perspective on success in cultural markets by specifying how content organizes product competition and audience consumption behavior.
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Dissertations / Theses on the topic "Songish"

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Cobb, Brian A. "Campfire songs /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11271.

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Thesis (D. Mus. Arts)--University of Washington, 2006.
For mezzo, baritone, flute, clarinet, bass clarinet, guitar, banjo, violin, cello and 2 percussionists. Texts by Walt Whitman, Hamlin Garland, David Wagoner, Mary Austin, and John Haines. Vita. Includes bibliographical references (leaf 156).
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Hubbard, Colton M. "Tea Songs." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116378208.

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Wiens, Carl K. (Carl Kristian). "Structural organization in selected songs from Charles Ives's 114 songs." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61136.

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Charles Edward Ives was the first twentieth-century North American composer to write from a purely American perspective. His music also anticipated many of the stylistic features which characterize later twentieth-century music. This study begins with an examination of secondary literature to show how other scholars have interpreted Ives's music. Few projects have dealt with the question of coherence in Ives's music, in large part due to the seemingly disjunct nature of the music. Unity and coherence were overriding concerns to Ives, as is evident in his writings which are strongly steeped in transcendental philosophy. The second part of the thesis presents analyses of four songs from the 114 Songs: "The Cage," "Ann Street," "Like a Sick Eagle," and "At the River." Linear techniques in concert with the labelling system of pitch-class set theory are the principal analytical tools used to investigate the songs. The analyses begin from the premise that each song contains an underlying compositional plan and is a coherent whole.
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Benningfield, Brittany C. "THE NILES-MERTON SONGS: A PERFORMANCE GUIDE OF SELECTED SONGS." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/110.

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The Niles-Merton Songs is a two-opus collection of twenty-two songs by John Jacob Niles setting the poetry of Thomas Merton. The songs are beautiful but contrast from his more popular works in poetry and composition. This project explores reasons why these songs are rarely performed, and gives an overview and analysis of ten selected pieces. The document includes a brief introduction, biographies of Niles and Merton, information detailing Niles’s compositional process, and the technical and artistic requirements for performing the songs, including appropriate age and voice type.
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Nelson, Michael. "Songs for cripples." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002952.

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Hung, Justin. "Songs about Words." Digital Commons @ Butler University, 2020. https://digitalcommons.butler.edu/grtheses/523.

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A song cycle for baritone and mixed chamber ensemble, "Songs about Words" consists of five songs for everyday concepts and subjects, and explores deeper themes of communication and identity. The ensemble consists of piano, accordion, tenor saxophone, percussion and double bass. The text was inspired by Pablo Neruda and written by the composer.
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Jama, Sophie. "Les songes de Descartes, lecture ethnologique." Nice, 1993. http://www.theses.fr/1993NICE2012.

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En quartier d hiver dans la region d ulm la nuyit du 10 au 11 novembre 1619, le jeune rene descartes eut trois songes qui revetirent la plus grande importance pour sa vie de philosophe. Ces songes n ont jamais ete envisages que d un point de vue philosophique, historique ou psychologique. Un regard ethnologique permet de replacer leurs elements essentiels dans le contexte social, culturel et religieux de l epoque. On observe alors comment tout le savoir, acquis par descartes de sa naissance jusqu a ce 10 novembre, se cristallise dans le texte qu il redigea a son reveil et qu il intitula olympica. Descartes estima qu une mission divine lui etait confiee. L experience fut vecue comme un rite initiatique, un voyage dans l au-dela sur le modele de ceux des heros de l antiquite, et conformement aux conceptions traditionnelles de l oniromancie. Descartes, qui passa une partie de son enfance a la campagne aupres d une nourrice, fut aussi tres influence par l education religieuse qu il recut chez les peres jesuites de la fleche et par la societe secrete des rose-croix qui emergeait en allemagne. En filigrane des songes apparait un symbole issu de l antiquite, symbole majeur dans cette post-renaissance : la lettre y attribuee a pythagore, image du choix de vie du philosophie
During the winter season in the region of ulm on the night of november 10th to lith, 1619, the young rene descartes had three visions that revealed to be of most importance for the philosopher's life. These visions have been examined from a philosophical, historical and psychological point of view. An ethnologist's eye enables putting their essential elements in the era's social, cultural and religious context. We observe, then, how all knowledge, acquired by descartes from birth to this november 10th, is crystallized in the text he composed upon wakening and entitled olympica. Descartes deemed that he was entrusted with a divine mission. He experienced this as a passage rite, a voyage to the beyond like that of an antiquity hero, and in accordance with traditional vision interpretation conceptions. Descartesn who spent part of his infancy with a childminder was also very influenced by the religious education he received from the jesuits of la fleche and the rosicrucian's secret society that emerged in germany. In filigree with the visions appears an antiquity symbol, leading symbol in the post-renaissance : the letter y attributed to pythagoras, image of the philosophers life choice
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Fowler, Heather. "Father and Mother Songs." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2048.

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Lanci, Michael P. "Songs for Joe Hill." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin149580760300849.

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Foust, E. J., and E. J. Foust. "Songs out of Sorrow." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/622987.

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Songs out of Sorrow is a seven-movement work for wind ensemble and soprano. The text and title come from the second chapter of American poet Sara Teasdale’s collection Love Songs. The methodical use of trichord combinations provides the primary harmonic and melodic language of the work, creating rising tension through the first four movements and subsequent resolution through the final three. Movement one, Spirit’s House, utilizes non-functional triadic harmonies with the addition of fourths and seconds. The second movement, Mastery, contains whole tone language. An instrumental interlude precedes the vocal music of the third movement, Lessons. When the soprano enters, the harmonic material of the interlude intermingles with the octatonic nature of the vocal line to create a folk music quality. Another instrumental interlude follows, utilizing a truncated and re-orchestrated version of the musical material featured in the first interlude. This leads directly into the climatic fourth movement, Wisdom, which is characterized by chromatic lines and tritones. A subdued fifth movement, In a Burying Ground, follows, undulating with a percussion ostinato, which is also a feature of the first movement. Wood Song, the sixth movement, begins with a stylized birdcall based loosely on Messiaen's transcription of the call of the wood thrush, which is referenced in opening line of the text. The harmonies of this movement contain augmented triads. The final movement, Refuge, features a return to the triadic harmonic material of the first movement, providing a sense of large-scale resolution.
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Books on the topic "Songish"

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Pinta, Carmelo de La. Songes. La Gacilly: Artus, 1993.

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Kwŏn, Tŏk-chu. Songsa sŏnju. Sŏul Tʻŭkpyŏlsi: Sinasa, 1987.

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Dodson, Terry. Songes: Coraline. Paris: Humanoïdes associés, 2006.

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Planta, Jean-Martin de. Songes providentiels. Le Mont-sur-Lausanne: Cahiers du passé, 1985.

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Bodha, Nando. Beaux songes. [Mauritius]: Editions Bénares, 1999.

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1947-, Yi Hong-jin, ed. Songsi sŏnju. Sŏul-si: Yŏngnak, 2010.

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Camp songs, folk songs. [Place of publication not identified]: Xlibris, 2014.

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Henry, Purcell. Songs. Mainz: Schott, 1994.

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Heinrich, Anthony Philip. Songs. Philadelphia: Kallisti Music Press, 1996.

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Boyer, Frédéric. Songs. Paris: P.O.L., 2003.

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Book chapters on the topic "Songish"

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Berlin, Edward A. "Ragtime Songs." In Ragtime, 70–78. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08401-2_4.

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Berlin, Edward A. "Ragtime Songs." In Ragtime, 70–78. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08404-3_4.

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Akomfrah, John. "Handsworth Songs." In 100 Documentary Films, 78–79. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_32.

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Wertheim, Arthur Frank. "Swan Songs." In W. C. Fields from Sound Film and Radio Comedy to Stardom, 289–99. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-47065-2_22.

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Fallows, David. "‘Straightforward songs’." In Henry V and the Earliest English Carols: 1413–1440, 1–4. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315610900-1.

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Thomas, Richard K. "Campfire Songs." In Music as a Chariot, 109–32. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315145631-6.

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McDaid, Ailbhe. "Wandering Songs." In The Poetics of Migration in Contemporary Irish Poetry, 147–96. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63805-8_4.

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Akuno, Emily Achieng’. "Children’s songs." In Music Education in Africa, 299–314. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Routledge studies in music education: Routledge, 2019. http://dx.doi.org/10.4324/9780429201592-19.

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Harmon, David. "Morning Songs." In A Naturalistic Afterlife, 17–26. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57978-8_2.

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Harmon, David. "Evening Songs." In A Naturalistic Afterlife, 163–78. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57978-8_9.

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Conference papers on the topic "Songish"

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Ridwan, Tati Narawati, Uus Karwati, and Yudi Sukmayadi. "Songah in the Cultural Tourism Industry." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.029.

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Laitonjam, Nishma, Vineet Padmanabhan, Arun K. Pujari, and Rajendra Prasad Lal. "Topic Modelling for Songs." In 2015 International Conference on Information Technology (ICIT). IEEE, 2015. http://dx.doi.org/10.1109/icit.2015.47.

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Panëels, Sabrina, Fanny Le Morellec, and Margarita Anastassova. ""smiles, kids, happy songs!"." In CHI '14: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2559206.2581308.

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Wang, Xin. "Research on Aesthetic Value of Twelve Ancient Songs of Hani People's Ancient Songs." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.291.

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Chan, James K., and David J. Calhoun. "Steam Generator Replacement at San Onofre Nuclear Generating Station Unit 2." In ASME 2010 Pressure Vessels and Piping Division/K-PVP Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/pvp2010-25897.

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This paper describes the design and installation of the replacement steam generators at San Onofre Nuclear Generating Station (SONGS) Unit 2. The design improvements of the replacement steam generators are compared to the old steam generators. The difficulties encountered during the installation of the replacement steam generators are also described. Lesson learned are summarized to benefit the execution of the SONGS Unit 3 replacement steam generators installation.
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Yu, Zhesong, Xiaoshuo Xu, Xiaoou Chen, and Deshun Yang. "Temporal Pyramid Pooling Convolutional Neural Network for Cover Song Identification." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/673.

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Cover song identification is an important problem in the field of Music Information Retrieval. Most existing methods rely on hand-crafted features and sequence alignment methods, and further breakthrough is hard to achieve. In this paper, Convolutional Neural Networks (CNNs) are used for representation learning toward this task. We show that they could be naturally adapted to deal with key transposition in cover songs. Additionally, Temporal Pyramid Pooling is utilized to extract information on different scales and transform songs with different lengths into fixed-dimensional representations. Furthermore, a training scheme is designed to enhance the robustness of our model. Extensive experiments demonstrate that combined with these techniques, our approach is robust against musical variations existing in cover songs and outperforms state-of-the-art methods on several datasets with low time complexity.
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Baur, Dominikus. "The songs of our past." In the 2011 annual conference extended abstracts. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1979742.1979683.

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Youssef, Khalid, and Peng-Yung Woo. "Instrument sound separation in songs." In 2008 IEEE International Conference on Electro/Information Technology (EIT 2008). IEEE, 2008. http://dx.doi.org/10.1109/eit.2008.4554343.

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Meng Guo and Hongbin Zhang. "Automatic summarization for popular songs." In 2008 International Conference on Audio, Language and Image Processing (ICALIP). IEEE, 2008. http://dx.doi.org/10.1109/icalip.2008.4589983.

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Nwe, Tin Lay, and Haizhou Li. "Identifying singers of popular songs." In Interspeech 2005. ISCA: ISCA, 2005. http://dx.doi.org/10.21437/interspeech.2005-85.

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Reports on the topic "Songish"

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A., Šeļa. Russian songs corpus 1800-1840ss. Institute of Russian Literature, Russian Academy of Science, 2020. http://dx.doi.org/10.31860/openlit-2019.11-c003.

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2

Hadida, Avraham E. The Reflection of Israeli Society in Popular War Songs. Fort Belvoir, VA: Defense Technical Information Center, June 2015. http://dx.doi.org/10.21236/ad1012786.

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Haggett, Matthew. Songs and Stories that Only You Know: Multiplicity, Meaning, & the Metaphorical Bridge. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.7067.

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4

Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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Abstract:
This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Heynderickx, Haley. A Musical Analysis of the Past: America is in the Heart by Carlos Bulosan Re-told through the Craft of Folk Songs. Portland State University Library, January 2015. http://dx.doi.org/10.15760/honors.179.

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