Academic literature on the topic 'Songs with accordion'
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Journal articles on the topic "Songs with accordion"
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Amir Hamzah, Shazlin, and Shamsul Amri Baharuddin. "Lagu Malaysia Truly Asia Sentuhan Ahmad Nawab: Sebuah Penjenamaan Bangsa Berakarkan Rumpun Nusantara." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 2 (2021): 37–52. http://dx.doi.org/10.17576/jkmjc-2021-3702-03.
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Since 1972, Tourism Malaysia has been making efforts at branding Malaysia as a unique tourist destination in South East Asia. In this process, songs play a significant role. In 1999, Malaysia Truly Asia was composed by Dato’ Seri Ahmad Nawab and it became the most iconic song for the ministry's branding campaign. The song was initially recorded in English and later translated into seventeen languages for international markets. This song introduces and highlights cultural heritage musical elements of the three main ethnic groups in Malaysia: the Malays, Chinese and Indians with a touch of kompang (single-headed frame drum), Kelantan Wayang Kulit (shadow puppets) music, serunai (quadruple reed wind instrument), tabla (a pair of double-headed drums), accordion and seruling (flute). National songs represent and build kinship amongst Malaysians who associate themselves with a more ‘authority-defined’ ideology because it is based on ethno-national politics as a result of colonial legacy. This article discusses the concept of ‘nation branding' used as a marketing tool for the tourism sector of Malaysia. Any nation branding effort for Malaysia will always be infused with elements of historical heritage within the archipelago that are hybrid and shared. Symbols of historical heritage that are firmly intertwined within the performing arts culture live within the soul of Ahmad Nawab. Naturally, he embodied and imbued this into a popular song until it became accepted by many as the Malaysian identity. Keywords: Nation branding, historical heritage, hybrid history, tourism, popular songs.
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Phafoli, Lehlohonolo S., and NS Zulu. "Narratives of personal experience: The construction of identity in Basotho accordion songs." South African Journal of African Languages 34, no. 2 (2014): 181–93. http://dx.doi.org/10.1080/02572117.2014.997055.
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Ptashenko, Serhii. "Song and dance genre specifics in works for button accordion by the composers of the Department of Folk Instruments of Ukraine of Kharkiv I. P. Kotlyarevsky National University of Art." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 67–82. http://dx.doi.org/10.34064/khnum1-59.05.
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Recent years have provoked an increasing interest in button accordion arts of Ukraine therefore a great demand for button accordion performance based on song and dance genre features is to be of great importance. Our research work deals with the embodiment of the song and dance genres features in academic button accordion art. The above-mentioned phenomenon has led to the appropriate systematization of their transformations in the musicological viewpoint therefore is stated to be very novel. This systematization is revealed from stylization to various arrangements, further transcriptions, fantasies, paraphrases, works on the theme of other artists that is to create the genre-style transformation. The aim of the research is to determine the genre-style methods of composers’ work for button accordion on the basis of song and dance genre. Present scientific research scope led to the solution of the following tasks: the disclosure of methods of author’s song and dance originals processing, identifying the specifics of drama and means of musical expression, justifying the popularity of works in the domestic musical performance. The following methods are used: analytical, comparative-historical and structural-functional. Summing up the results, it can be concluded that stylizations of dance and song genre are stated to be a great component of button accordion art. The use of European modeling samples (gavotte, mazurka and musette) contributed to the button accordion performance leading to sound production sophistication, high refinement of the sound palette and dynamic nuance, which enriched the artistic means of expressiveness, contributed to the evolution of interpretive experience. In the arrangements and transcriptions (by other authors) of Latin American dance genres there was an enrichment of rhythmic intonation structures and timbre palette of the instrument that lead to great popularity among performers and listeners by the interaction of academic art and genres belonging to the ‘third layer’. Among the opuses created in the genre-style transformation of songs and dances, the re-intonation of the original musical compositions received high artistic results. The use of modern means of button accordion expression, construction of new musical forms, application of elements of musical polystylistics, modification of genres are aimed at multifaceted reproduction of the figurative content of the original source, giving it a new artistic value and concert life. In the musical works of button accordion composers, the direction of song and dance genres features continuously enriches the quantitative and qualitative musical literature, so the prospects for further scientific research are relevant and promising.
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Andriy, Strilets. "THE CONCERT AND PEDAGOGICAL REPERTORY OF KHARKIV BUTTON ACCORDION SCHOOL IN TERMS OF THE GENRE AND STYLE DYNAMIC." Aspects of Historical Musicology 22, no. 22 (2021): 7–27. http://dx.doi.org/10.34064/khnum2-22.01.
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Introduction. The article is devoted to the study of the historical stages of the modern button accordion repertoire formation based on the genre and stylistic analysis of the repertoire models used in the process of teaching the students in the Kharkiv button accordion school. The actualization of the current research topic has set up a need for relying to a greater extent not on the printed sources, but on the reports of the witnesses, the first button accordion students of Kharkiv Conservatory, such as University professors Alexander Ivanovich Nazarenko, Anatoly Pavlovich Haydenko, Igor Ivanovich Kharkiv, as well as college professors Yevhen Leonidovych Vashchenko and Yevhen Heorhiyovych Malykhin, who were the first-hand participants in the process of the regional school formation. Theoretical background. Although the historiography of the Ukrainian button accordion art contains a fairly large amount of scientific and methodological studies (M. Imkhanitsky, V. Semeshko, A. Stashevsky, I. Snedkov, A. Svetov), many problems of the modern academic folk instrumental music remain unresolved. In particular, the concert repertoire formation in terms of a pragmatic dimension of the button accordion teachers approaches study within the Kharkiv school has not been the subject of a special interest of researchers in this area yet. The purpose of the research is to trace the stages of formation of the button accordionists’ modern concert and pedagogical repertoire on the basis of the genre and stylistic models’ analysis used in the process of teaching in the Kharkiv regional button accordion school. The object of the article is historical experience of the Kharkiv button accordion school as a component of academic folk and instrumental performance. Methods of research are conditioned by the material and formulation of the problem itself, in particular, a historical method is used to explain the organic connection of the facts, preconditions and personalities that brings together the historical experience of the Kharkiv button accordion school, a genre and stylistic method provides the embodiment of the performers original creative achievements. Results and Discussion. There are three main factors which have influenced the formation of the concert and pedagogical repertoire of the button accordion students of the Ukrainian Folk Instruments Department in KhNUA: ● the performing school and its genesis represented by particular teachers with their own repertoire preferences; ● improving the design of the instrument itself; ● the volume and quality of the original repertoire, as well as the productivity level and number of the composers working to develop it. Considering the general condition of the Kharkiv regional button accordion school of the 1950s, we can point out the prospects of the core guidelines underlying its basis: the formation of a list of clearly regulated and systematized program requirements; the impossibility of the requirements for the performance of genre forms (the absence of full-fledged imitation polyphony in the pedagogical repertoire) in full compliance with the “classical canons”; the predominance of small forms over large ones, as well as their obvious genre affiliation (songs, dances, marches); a significant shortage of the original works inciting the adaptation skills formation. Since the late 1960s the original pedagogical repertoire has been characterized by a great variety of genre and stylistic forms, such as a concert, a sonata, a suite, a partita, a fantasy, small cycles, a scherzo, a prelude, a concertino, a play, an arrangement of folk songs, arrangements of popular works, a concert etude. The representatives of five generations provide an inheritance of the traditions that represent the Kharkiv button accordion school creative experience and simultaneously transform it in accordance with the modern challenges. Conclusions. The conclusions emphasize the fact that the historically settled genre models of the performing and pedagogical repertoire of accordionists were established in the process of the Kharkiv button accordion school activity. The diversity of the original music for a button accordion is now represented by almost all existing genres and stylistic performance directions. It was the high culture of the Kharkiv musicians’ performance that brought the status of the academic art of playing folk instruments into a scientific level, as a new standard of sound and creative thinking.
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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.
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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.
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Schröder, Gesine. "Nationale Musik — Musik im Dienst am Volk. Zu einer Variante sozialistisch-realistischer Musik der frühen DDR: Der Fall Kurt Schwaen." Studia Musicologica 56, no. 4 (2015): 301–16. http://dx.doi.org/10.1556/6.2015.56.4.1.
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‘Middle music’ and the ‘middle music theory’ of the German Democratic Republic have received little interest, although their products survive until today. Kurt Schwaen is known for his compositions for folk instruments and for his famous children’s songs such as “Wenn Mutti früh zur Arbeit geht” [When mom goes to work early in the morning]. Schwaen was an author of music for the folk, namely for amateur singers, mostly children, or lay instrumentalists, who played in mandolin or accordion orchestras. Schwaen’s compositions may be considered as a variant of socialistic realism in music. They form a modern folk music by both respecting neomodal writing, derived from the 1920s, as well as by including international folk material and promising an authentic and unsuspicious tune which German folk music lacked since the Third Reich.
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Lytvyshchenko, O. V. "O. I. Nazarenko as a coryphaeus of the Kharkiv accordion school: formation of the authorial style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 43–56. http://dx.doi.org/10.34064/khnum1-56.03.
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Problem statement. The pedagogical activity of the Merited Artist of Ukraine, Professor O. I. Nazarenko is more than fifty years old. The maestro’s name will become history of the Department of Folk Instruments of Kharkiv I. P. Kotliarevskyi National University of Arts. It is impossible to disregard O. Nazarenko’s creative achievements and multifaceted activity, first, because his enormous contribution to the development of the academic accordion in Kharkiv and his authority reaches far beyond Kharkiv and Ukraine. Well-known modern accordionists and orchestral ensembles perform the composer’s works with great respect and persistence. The artist’s pedagogical activity, his talent as a teacher and mentor was found itself in students who achieved outstanding success thanks to high-quality professional training. The object of the research is O. Nazarenko’s musical activity. The aim is to determine characteristic features of O. Nazarenko’s authorial style in the context of Kharkiv Accordion School traditions. Methodology. This study is based on historical, genre and stylystic as well as interpretive method. The methodological basis is formed by the works of Yu. Diachenko (2012), M. Pliushenko (2017), I. Sniedkov (2016), A. Strilets (2018), which partly appeal to O. Nazarenko’s work and the history of Kharkiv Accordion School. Presenting the main material. One of the brightest representatives of Kharkiv Accordion School is the teacher, performer, composer and conductor O. I. Nazarenko. In the context of Kharkiv Accordion School formation and development, O. Nazarenko was remembered for his networking with famous Kharkiv composers. From 1967 to 1987 O. Nazarenko performed many authorial programs of such Kharkiv composers as V. Bibik, F.Bogdanov, O. Zhuk, V. Zolotukhin, D. Klebanov, I. Kovach, T. Kravtsov, G. Finarovsky, S. Faintukh and N. Yukhnovska. Working as a solo accordionist and accompanist, O. Nazarenko gained richer experience and recognition of stage colleagues; he accompanied the People’s Artists of the USSR such as Ye. Chervoniuk, M. Manoilo, Yu. Bogatykov and N. Surzhina, People’s and Merited Artists of Ukraine as V. Arkanova, A. Rezilova, Yu. Ivanov and others. While setting piano vocal works by Kharkiv composers, O. Nazarenko made editions for accordion and enriched the texture of his own works in every possible way. Materials of arrangements, settings, transcriptions were periodically published in such publishing houses’ collections as “Music” (Moscow), “Musical Ukraine” (Kyiv). We cannot ignore the maestro’s creative contacts with V. Podgorny, who influenced his further activity and made a contributive mark on the path of his professional development. Mastering the technique of influencing the listener through emotional and expressive accordion playing was important for O. Nazarenko. V. Podgorny who possessed a brilliant technique of working with sound, was mentioned by O. Nazarenko as “the artist of sound”. It was communication and creative contact with V.Podgorny that enriched the professional background and stimulation of the composer’s talents in young Olexandr’s soul. O. Nazarenko’s specific performing and composing style was formed under V. Podgorny’s influence also. As one of his brightest students, he collaborated with him, was interested in new creative ideas and imitated the teacher’s manner. O. Nazarenko’s work is more connected with singing and folklore; Ukrainian, Russian, Gypsy, Georgian and Latin American motives became the basis of his musical compositions. Based on folk and authorial melodies, he created largescale complex structures with vivid musical images. A typical feature of topics for adaptation, transcription and arrangement was the idea of taking unfamiliar works, which no one had previously addressed to. This attracts performers to search for their own interpretations without imitating already known performer interpretations. Many works in the maestro’s interpretation are characterized by a waltz manner. During his life, from childhood, all the memories and experiences accumulated and became the basis for many of his works. According to his words, he actively attended music evenings in a village club and school after the war, where he could listen to modern waltz-like music by Soviet composers. The first author’s melody, “Elegy Waltz”, which represents lyrics and romantic images as memories, was a dedication to his brother Volodymyr. The author comments that it was his brother who showed him waltz and taught him to dance it in his childhood. Many accordion works by O. Nazarenko are characterized by symphonic principles of development, which are also used in fantasia genre. In this genre, a dramatic and deeply psychological work interpreting Russian folk song “Thin Rowan” was written, which absorbed the emotions of the author’s inner experiences (being a dedication to his mother Alexandra Monakova). Being an excellent accordionist, he is aware of the instrument’s possibilities and implements this knowledge in working on musical works. He pays much attention to image intonation and the specifics of imitation of other instruments. His performance methods were based on the works by S. Richter, E. Hilels, L. Kohan, Ya. Heifetz and many other maestros. These ideas gave him, as a performer, an extremely subtle feeling of timbre. In the manner of his performance, he made the audience not only listen, but also hear, which is very important for perception of musical work. O. I. Nazarenko managed to raise a large number of students for many years of pedagogical activity. They represent his name not only in Ukraine but also abroad. Conclusions. O. Nazarenko’s authorial style is original and multifaceted, it consists of composition, performance and pedagogical activities. The authorial style formation was greatly influenced by Kharkiv cultural environment, creative connection with V. Podgorny and performing traditions of Kharkiv Accordion School in general. O. Nazarenko’s original compositional style is manifested in the genres of transcription, fantasia and arrangement of folk songs for accordion. O. Nazarenko’s works include a number of ones written and dedicated to people who left a great dramatic imprint in his life. Works dedicated to his mother, father, wife and brother are a musical word where dramatic images emphasize the expression and specificity of addressing close people. Due to the bright timbres, rich texture and registers, the composer’s musical compositions become symphonic, going far beyond the basic thematic material. Based on folk and authorial melodies, he created large-scale complex structures with vivid musical images. O. Nazarenko’s works require a performer’s high level of technical training, an intellectual approach to understanding all the musical text details, fastidious work on the sound. These components of performing skills are inherent in the maestro as a representative of Kharkiv Accordion School.
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James, Elaine. "Battle of the Sexes: Gender and the City in the Song of Songs." Journal for the Study of the Old Testament 42, no. 1 (2017): 93–116. http://dx.doi.org/10.1177/0309089216670546.
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This article considers the significance of the city in the Song of Songs as a landscape, that is, a cityscape. It explores how contemporary theorizations of the city, especially landscape urbanism, can illuminate patterns of poetic use in the Song. It argues that the Song's use of the motif of the city is highly ambivalent, evoking the twin themes of protection and vulnerability. The Song playfully casts the lovers in a battle of the sexes, in which the young woman is a threatened city, and her lover is the encroaching enemy. Ultimately, the Song imagines the city as a body–-dependent on and susceptible to its surrounding environment, gendered female according to the conventions of the ancient world, and evocative of desire.
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Brata, I. Putu Bayu Wira, and I. Dewa Made Bayu Atmaja Darmawan. "Mood Classification of Balinese Songs with the K-Means Clustering Method Based on the Audio-Content Feature." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 9, no. 3 (2021): 331. http://dx.doi.org/10.24843/jlk.2021.v09.i03.p03.
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Bali is a province that has a diversity of arts and can not shunt from songs that come from Bali. Music in Balinese songs has a unique character, both in the variations of the tone that builds up a song and the lyrics contained in a Balinese song. Research on the classification of mood with energy and valence features of a song is often done, especially on western songs. Every music that is thought out has emotional energy that radiates and powerfully connects with human psychology. This research wants to explore whether the features used to classify western songs can also classify Balinese songs, which are rich in the sound of musical instruments according to the tastes of the Balinese themselves. Classification of songs is essential, considering that music is related to specific emotions and moods in humans. In this study, the mood classification of Balinese songs is performed using the Spotify API feature, namely energy and valence. Classification using K-means clustering based on energy and valence features is compared with the song mood data from ten respondents and produces the highest accuracy of 32%.
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Sandoval, Luis. "Male–male vocal interactions in a territorial neotropical quail: which song characteristics predict a territorial male's response?" Behaviour 148, no. 9-10 (2011): 1103–20. http://dx.doi.org/10.1163/000579511x596570.
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AbstractMales singing within their territories can change their song characteristics in order to interact with conspecifics; males may respond to territorial intrusions by vocalizing, approaching the intruder and/or displaying. I studied male–male interactions by quantifying vocal and behavioural responses of male spot-bellied bobwhites (Colinus leucopogon) toward playback of conspecific male songs. Male responses toward playback song depended on the quality of the territorial male's song relative to the playback stimulus. In this species males who sang songs with higher peak and low frequency, longer song duration, and lower song rate were less responsive to simulated territorial intrusions. Spot-bellied bobwhite males that sang in response to the playback increased the low frequencies of their songs relative to pre-playback song, a vocal behaviour related to dominance in males of other species. Males that approached the speaker sang longer songs, a characteristic associated with increased aggression or motivation to fight in other bird species. The results of this playback experiment suggest that male spot-bellied bobwhite song characteristics according to playback characteristics predict response to territorial intrusions and may, therefore, play an important role in male–male interactions.
Dissertations / Theses on the topic "Songs with accordion"
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Tacke, Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur. "Resistance in compositional practice three mediatory works /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453233.
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Thesis (M.A.)--University of California, San Diego, 2008.Accompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.
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Arinello, James Laurence. "Simplified by the Highest Simplicity: Mystical Ascent According to Thomas Gallus." Thesis, Boston College, 2011. http://hdl.handle.net/2345/3741.
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Thesis advisor: Stephen F. BrownAmong the varied representations of mystical ascent in the Middle Ages, perhaps none was as original as that of Thomas Gallus (d.1246), an abbot of the Canons Regular at St. Andrea in Vercelli and the so-called "last of the great Victorines." Drawing on the highly-esteemed works of Dionysius the Areopagite, Thomas exegeted the Song of Songs in terms of the soul's ascent to God through both knowledge and love. His differs from earlier Song commentaries because of its Dionysius-inspired contention that the human soul reflects the nine orders of the angelic hierarchy. Through apophatic contemplation and desire for God, the soul ascends through these orders until its intellectual knowledge fails, and it is granted a union of love with through its Seraphic order. However, Thomas, following Gregory the Great and Hugh of St. Victor, argues that love itself is a kind of knowledge, indeed, the highest kind of knowledge, the very "wisdom of Christians." To bridge the gap between the grades of knowledge and of love, and between the intellect and affect, Thomas introduces the notion of the simplification of the soul, an idea that has its roots in the Neoplatonism of Dionysius. Simplification may be defined as the principle by which multiplicity and compositeness are anagogically abandoned in favor of greater unity and simplicity through mystical ascent. It forms the guiding principle of Gallus's mystical thought, and is described in three highly interrelated ways. First, the intellect leaves behind its knowledge of God through sensibilia, sensible knowledge gained through the senses and imagination, in favor of purely invisible contemplative objects or theoriae, which it contemplates first in its own reason and intellect, and then ecstatically and unitively in themselves. Each progressively higher level of contemplation is simpler and contains those below it. Secondly, the affect abandons its lesser desires for temporal and spiritual goods, and instead focuses its desire on the Good, which is the wellspring of all lower goods. Finally, and foundationally, simplification describes the movements of the powers of the soul, which unite as they ascend, increasingly reflecting the divine simplicity. This culminates with the affect's union with God, which undividedly contains within itself all lower forms of knowledge and love. When this fleeting union with God ends, the soul descends, becoming multiplex again, but it carries with it an inflow of graces, both intellectual and affectual, which are distributed to each order of its hierarchy "according to the capacity of each". This refreshment allows for future ascent
Thesis (PhD) — Boston College, 2011
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Theology
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Khotso, P. "Masculinity as a popular theme in the development of Basotho accordion music." Thesis, 2017. http://hdl.handle.net/10500/24534.
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Text in English and some in SesothoThis thesis examined how masculinity develops among the Basotho accordion music artists of the period 1980-2015 with an intention to propose the reshaping of masculinity conducive for a human society. Different factors that influence masculinity among the Basotho as represented by Basotho accordion music artists are scrutinized to find out how masculinity as a thematic aspect in the development of Basotho accordion music has been manifested over a period of thirty-five years. Psycho-masculinity is employed in the present study to find out the impact of the existing form of masculinity among the Basotho. The study concludes that the present form of masculinity among the Basotho is precarious, not only to women and to children, but also to men in their two categories: those who exhibit masculinity as well as those who do not show evidence of it. Therefore, the study recommends that the Basotho masculinity should pay attention to the limitations of masculinity in order to minimize and consequently eradicate its negative side while simultaneously promoting its positive side towards men, women and children at large.
Linguistics and Modern Languages
D. Phil. (Language, Linguistics and Literature)
Books on the topic "Songs with accordion"
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Mirzäyev, Zakir. Azärbaycan qarmonu. Adiloğlu, 2005.
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Torres, Javier Covo. Música de acordeón. Asociación Carbocol Intercor, 1990.
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Dalla, Lucio. La storia in musica: Testi e accordi. BMG Ricordi, 1997.
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The modes of classical vocal polyphony: Described according to the sources, with revisions by the author. Broude Brothers, 1988.
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Metcalfe, John. Spiritual songs from the Gospels: In metre : according to the Authorized Version. Publishing Trust, 1985.
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The gospel according to a mountain momma. McClain Print. Co., 2002.
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John, Irving. The world according to Garp: A novel. Ballantine Books, 2009.
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John, Irving. The world according to Garp: A novel. Ballantine Books, 2009.
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1825-1896, Child Francis James, ed. The traditional tunes of the Child ballads: With their texts, according to the extant records of Great Britain and America. Princeton University Press, 1989.
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The sound of medieval song: Ornamentation and vocal style according to the treatises. Clarendon Press, 1998.
Book chapters on the topic "Songs with accordion"
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Salonen, Kirsi. "In their fathers' Footsteps. The Illegitimate Sons of Finnish Priests according to the Archives of the Sacred Penitentiary 1449-1523." In Textes et Etudes du Moyen Âge. Brepols Publishers, 1998. http://dx.doi.org/10.1484/m.tema-eb.5.102853.
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Howard, Keith. "Instruments of the People." In Songs for "Great Leaders". Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190077518.003.0003.
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Chapter 2 is the first of two chapters that outline and analyze the development of North Korea’s kaeryang akki—“improved” or “reformed” versions of traditional musical instruments. It identifies formational influences from the Soviet Union, China, and elsewhere. The underlying ideology, which holds that Korean instruments should match Western counterparts, but that Western instruments must be subservient to the Korean soundworld, is critiqued. Key musicians and institutions, and music pedagogy are introduced. Data from published resources is matched to the author’s detailed work with key performers in Pyongyang, interviews with musicologists, and evidence gleaned from notations and recordings. The core of the chapter explores wind instruments, looking in detail at the shawm (chang saenap), flutes (chŏdae, tanso), oboes (p’iri), trumpets and conch shells (ragak, rabal), and the accordion (sŏnp’unggŭm).
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Sewell, Amanda. "The Last of the New (1985–1997)." In Wendy Carlos. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190053468.003.0008.
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This chapter focuses on the last period in which Carlos created new music. She began restricting the number and type of interviews she gave following Allan Kozinn’s negative review of her album ciDigital Moonscapes and an article in People magazine that focused disproportionately on her gender. In 1986, she released Beauty in the Beast. Although she called it her “most important album,” Beauty in the Beast barely registered critically or commercially. She also teamed up with “Weird Al” Yankovic, known for his parodies of pop songs and his accordion playing, to record Sergei Prokofiev’s Peter and the Wolf. Struggling financially, Carlos returned to the repertoire of Switched-On Bach and created Switched-On Bach 2000 using digital synthesis.
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Howard, Keith. "What Revolutionary Operas Do." In Songs for "Great Leaders". Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190077518.003.0007.
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Chapter 6 is the third of three chapters on “revolutionary operas.” It uses musical analysis to establish a theoretical approach. The chapter returns to song, now as the core of revolutionary operas and people’s operas, and shows how key opera songs are designed to be portable. In this sense, songs can be lifted from operas and rearranged for concert use, either as songs in new styles or in instrumental or orchestral versions. The chapter argues that the message, contained in the “seed” (according to “seed theory”), is retained even when lyrics are no longer present, because of familiarity. Operas are shown to move beyond film and cinema (as Lenin’s/Stalin’s favored cultural production) as they make audiences part of the spectacle: the argument links Benjamin’s “panoramas” to Foucault’s “panopticon,” zooming in on musical content to identify topoi forms and themes and Wagnerian melodic leitmotifs, which allow “seeds” to be retained in new works and new arrangements.
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Chakrabarty, Sudipta, Samarjit Roy, and Debashis De. "Time-Slot Based Intelligent Music Recommender in Indian Music." In Intelligent Analysis of Multimedia Information. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0498-6.ch012.
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Music listening is one of the most common thing of human behaviors. Normally mobile music is downloaded to mobile phones and played by mobile phones. Today millennial people use mobile music in about all the age groups. Music recommendation system enhances personalized music classifications that create a profile with the service and build up a music library based on the choice preferences using mobile cloud services. Music recommendation through cloud is therefore an emerging field, and this can be done using various parameters like song genre similarity, human behavior, human mood, song rhythmic patterns, seasons etc. In this article an intelligent music recommender system that identifies the raga name of one particular song music and then mapping with the raga time database and classify the songs according to their playing time and create time slot based personalized music libraries.
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Parrish, Susan Scott. "Bessie’s Eclogue." In The Flood Year 1927. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691168838.003.0005.
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This chapter focuses on Bessie Smith and the song she wrote that was soon to become the anthem of the Great Mississippi Flood. According to music historian David Evans, “Back-Water Blues” ultimately “took on a life of its own, becoming the flood blues, an all-purpose generic blues on the flood theme.” Covered by multiple artists throughout the 1930s, 1940s, and after, it became over time “one of the best known of all blues songs.” Given its release early on in the 1927 super-flood cycle and its nationwide distribution while the disaster was still unfolding, this song was a key vehicle for communicating ideas and attitudes about the flood while it was occurring to a large multiracial, multiregional public.
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Fujita, Takanori. "Layers and Elasticity in the Rhythm of Noh Songs." In Thought and Play in Musical Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190841485.003.0009.
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Song in Japanese Noh drama is generally described in terms of an eight-beat meter. In the hira-nori song rhythm, the meter is organized according to the standard Japanese poetic unit of 7+5 syllables. The meter of Noh is isochronous in theory and a song’s syllables can be laid out regularly in accordance with it. However in performance, singers and drummers never seem to obey the meter; rather they create layers of deviation from the meter. Spaces between beats articulated by drummers seem more elastic than one might imagine based on the notation. To examine such layers and elasticity, this chapter describes the singers’ training style. This teaches them how to deviate from the meter and specifies drummers’ modification types of the cycle of eight beats. “Taking komi” is the drummer’s technique for synchronizing with and detaching from the singers’ part. The history of patron-amateurs’ participation in performance is described as a background for the creation of the interaction style.
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Rodgers, Stephen. "Plagal Cadences in Fanny Hensel’s Songs." In The Songs of Fanny Hensel. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0008.
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The past few years have seen an outpouring of research into the ways that Romantic composers distort the conventions of their Classical predecessors. One particular distortion involves the use of genuine plagal cadences that provide formal closure rather than follow a moment of formal closure; according to William Caplin, genuine plagal cadences are almost nonexistent in music written before 1850, and after that they are hardly commonplace. Fanny Hensel is an exception to this rule. Bona fide plagal cadences are common enough in her songs to emerge as a standard category of closure. This chapter examines three Hensel songs that close with plagal cadences—“Zu deines Lagers Füßen,” “Bitte,” and “Erwache Knab’ ”—arguing that they deserve to grouped among the most inventive songs of the early Romantic era, and that Hensel deserves to be seen as one of the era’s true tonal innovators.
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Keats, Jonathon. "Mashup." In Virtual Words. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195398540.003.0027.
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The origin of the mashup is a matter of debate. According to one theory, the phenomenon began in 2001 with the XFM radio broadcast of the song “Stroke of Genius,” a bootleg remix by the deejay Freelance Hellraiser that incongruously set the pop vocals of Christina Aguilera’s “Genie in a Bottle” against garage rock instrumentals from the Strokes’ “Hard to Explain.” A competing hypothesis credits the culture-jamming Evolution Control Committee, which in 1993 satirically layered the brutal rap lyrics of Public Enemy over swinging Latin arrangements of Herb Alpert and the Tijuana Brass. Other theories cite Club House’s 1983 medley of Steely Dan’s “Do It Again” and Michael Jackson’s “Billy Jean,” Frank Zappa’s ’70s experiments in xenochrony, King Tubby’s ’60s dub remixes, John Cage’s ’50s compositions for a chorus of radios, and even the Renaissance practice of quodlibet. Although some of these may have been influential—and all are reminders of the role remixing has forever played in the creative process—this long tail of influences scarcely anticipates the explosion of songs combining vocals from one source with instrumentals from another following the Freelance Hellraiser’s XFM debut. In a matter of months mashups numbered in the thousands, with juxtapositions including Missy Elliott vs. the Cure, Art Garfunkel vs. Watership Down, and Whitney Houston vs. Kraftwork. Evoking a wrestling match, A vs. B became the standard formula for citing sources, generally in parentheses following a title playing on names of the original songs. (For instance, “Smells Like Teen Booty” was a mashup of Nirvana’s “Smells Like Teen Spirit” with “Bootylicious” by Destiny’s Child.) The sounds of these remixes were as varied as the source materials, and the motivations were as disparate as the historical influences, with intended targets ranging from dance club entertainment to cultural critique. What these works shared, and have in common with the countless additional musical (and video) mashups that have since joined them, is the notion that culture is interactive, a feedback loop rather than a mail chute. Whether done in tribute or ridicule, or simply to create something beautiful, these songs mash up the standard distinction between consumer and producer.
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Berloffa, Gabriella, Eleonora Matteazzi, and Paola Villa. "The worklessness legacy." In Youth Labor in Transition. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190864798.003.0010.
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This chapter examines how intergenerational transmission of worklessness varies according to the gender of parents and their children in 26 European countries. The analysis draws on EU-SILC 2011 cross-sectional data, using a sample of young people aged 25–34 years for whom information about parental background characteristics when the young people were aged approximately 14 years is available. Fathers’ and mothers’ employment conditions during their children’s adolescence were expected to impact differently on the labor outcomes of sons and daughters, with cross-country differences depending on national-specific socioeconomic structures and institutional contexts. Empirical findings suggest that having had a workless mother increases both sons’ and daughters’ likelihood of being workless at approximately age 30 years in all but the Nordic countries. Fathers’ employment matters for both sons and daughters in Mediterranean and Eastern countries, only for daughters in English-speaking countries, and only for sons in Nordic countries.
Conference papers on the topic "Songs with accordion"
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Petkova, Tatyana V., and Daniel Galily. "Hava Nagila." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.06073p.
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This article is about the story of a favorite Jewish song of many people around the world. Hava Nagila is one of the first modern Israeli folk songs in the Hebrew language. It went on to become a staple of band performers at Jewish weddings and bar/bat (b'nei) mitzvah celebrations. The melody is based on a Hassidic Nigun. According to sources, the melody is taken from a Ukrainian folk song from Bukovina. The text was probably the work of musicologist Abraham Zvi Idelsohn, written in 1918. The text was composed in 1918, to celebrate the Balfour Declaration and the British victory over the Turks in 1917. During World War I, Idelsohn served in the Turkish Army as a bandmaster in Gaza, returning to his research in Jerusalem at the end of the war in 1919. In 1922, he published the Hebrew song book, “Sefer Hashirim”, which includes the first publication of his arrangement of the song Hava Nagila.
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Petkova, Tatyana V., and Daniel Galily. "Hava Nagila." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.06073p.
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This article is about the story of a favorite Jewish song of many people around the world. Hava Nagila is one of the first modern Israeli folk songs in the Hebrew language. It went on to become a staple of band performers at Jewish weddings and bar/bat (b'nei) mitzvah celebrations. The melody is based on a Hassidic Nigun. According to sources, the melody is taken from a Ukrainian folk song from Bukovina. The text was probably the work of musicologist Abraham Zvi Idelsohn, written in 1918. The text was composed in 1918, to celebrate the Balfour Declaration and the British victory over the Turks in 1917. During World War I, Idelsohn served in the Turkish Army as a bandmaster in Gaza, returning to his research in Jerusalem at the end of the war in 1919. In 1922, he published the Hebrew song book, “Sefer Hashirim”, which includes the first publication of his arrangement of the song Hava Nagila.
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Young, Choi So. "A STUDY ON THE ORIGIN OF CHEOYONG: THE ANCIENT CULTURAL EXCHANGE BETWEEN CENTRAL ASIA AND KOREA." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-18.
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In 879 (or 875), Cheoyong, who appeared with several people wearing unfamiliar appearance and strange clothes, performed singing and dancing in front of the king of Silla. After that, he moved to the capital with the king, and it is believed that he performed there. According to the legend, Cheoyong, who came in late at night after performing, found that the god of smallpox was with his wife, sang and danced without anger. The god, who saw Cheoyong's behavior, said he would not invade the place where his image was painted, so his portrait later served as an amulet to prevent disease and ghosts. After that, Cheoyong has left somewhere and his dances and songs remained as Cheoyongmu(dance of Cheoyong) and Cheoyongga(song of Cheoyoung), settling down as a Korean folk art. Cheoyong is seen as a sogd performer who escaped from the political turmoil in China when looking at his appearance, his profession, and the situation at the time, which was not familiar to Koreans.
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Dalmora, André, and Tiago Tavares. "Identifying Narrative Contexts in Brazilian Popular Music Lyrics Using Sparse Topic Models: A Comparison Between Human-Based and Machine-Based Classification." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10417.
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Music lyrics can convey a great part of the meaning in popular songs. Such meaning is important for humans to understand songs as related to typical narratives, such as romantic interests or life stories. This understanding is part of affective aspects that can be used to choose songs to play in particular situations. This paper analyzes the effectiveness of using text mining tools to classify lyrics according to their narrative contexts. For such, we used a vote-based dataset and several machine learning algorithms. Also, we compared the classification results to that of a typical human. Last, we compare the problems of identifying narrative contexts and of identifying lyric valence. Our results indicate that narrative contexts can be identified more consistently than valence. Also, we show that human-based classification typically do not reach a high accuracy, which suggests an upper bound for automatic classification. narrative contexts. For such, we built a dataset containing Brazilian popular music lyrics which were raters voted online according to its context and valence. We approached the problem using a machine learning pipeline in which lyrics are projected into a vector space and then classified using general-purpose algorithms. We experimented with document representations based on sparse topic models [11, 12, 13, 14], which aims to find groups of words that typically appear together in the dataset. Also, we extracted part-of-speech tags for each lyric and used their histogram as features in the classification process.
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Costa, Lucas F. P., and Andrés E. Coca S. "Characterization and identification of twelve-tone composers." In XV Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/eniac.2018.4465.
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The individualism of each composer is shaped in an inherent way to his personality, aiming for recognition of particular form through the own songs. In this way, it is possible to categorize a musical subgenre at a deeper level by identifying the composer from his works. However, the characteristics of each composer are so varied that they are difficult to identify. In this paper it is proposed to use machine learning to classify works of twelve-tone music according to the composer, under the hypothesis that in choosing the twelve-tone series a part of his signature was reflected. Experimental results showed promising performance and confirmed the existence of a relation between composer and series.
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Ribeiro, Estela, and Carlos Eduardo Thomaz. "A multivariate statistical analysis of EEG signals for differentiation of musicians and non-musicians." In XV Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/eniac.2018.4442.
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It is possible to reveal whether a subject received musical training through the neural activation patterns induced in response to music listening. We are particularly interested in analyzing the brain data on a global level, considering its activity registered in electroencephalogram electrodes signals. Our experiments results, with 13 musicians and 12 non-musicians who listened the song Hungarian Dance No 5 from Johannes Brahms, have shown that is possible to differentiate musicians and non-musicians with high classification accuracy (88%). Given this multivariate statistical framework, it has also been possible to highlight the most expressive and discriminant changes in the participants brain according to the acoustic features extracted from the audio.
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Dang Thi Dieu, Trang. "Modern Folk poetry (Ca Dao): A Form of Folklore Linguistic Composition on the Internet." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-2.
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The context of globalization along with the development of electronic media has opened a new era for folklore in general as well as forms of linguistic composition of folk literature in particular. In addition to the form of composing and keeping media documents in the traditional way, the Internet explosion has dominated the main spaces of communal life and has gradually changed the mode of human interaction. Cyber space is considered as a tool to convey traditional values, to create many new cultural activities, and to be a place to circulate folk cultural works in contemporary society, in which folk poetry (Ca dao) is one. Modern folk poetry studies are still a controversial issue in academic circles in Vietnam, but with the dominance of today's Internet communication technology, the emergence of lyrics rhymes circulated on the Internet is a remarkable and inevitable phenomenon in the context of development of various forms of "reformed", "processing", "parody" lyrics, songs, poems according to the direction of humor and entertainment rather than focusing on aesthetics and art. From a linguistic cultural approach, this article aims to discuss modern folk poetry on such issues as: Why did such folk poetry come about? How would we circulate or share this poetry on the Internet and to approach folk culture in an era of dominance of visual culture (TV, video, film, photography) and Online culture; how does socio-economic change on modern folk poetry impact on the Internet in terms of thinking innovatively, and how does it tend to break traditional cognitive structures due to the diverse forms of reflection and reality in modern society?
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Goryachkin, Yuri, and Yuri Goryachkin. "COASTAL EROSION IN THE GULF OF KALAMITA AS A RESULT OF LONG-TERM ANTHROPOGENIC INFLUENCE." In Managing risks to coastal regions and communities in a changing world. Academus Publishing, 2017. http://dx.doi.org/10.21610/conferencearticle_58b431522def4.
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The Gulf of Kalamita is located in the Black Sea off the west coast of the Crimea and is known to be a major recreational area. However, in the last 30 years, its famous sandy beaches have drastically degraded. Degradation of sandy beaches was expressed in erosion of the coastal line (30-70 m) and reduction of the total area of beaches; disappearance of sand in a number of ar-eas in the near-shore zone and openings of marl; sharp increase of fragments of limestone in the composition of beaches. In the last 60 years, the level of the Black Sea has risen by 14 cm. Only this factor, as the calculations show, has caused about 15 mln m3 deficiency of deposits. Accord-ing to direct observations, shoreline response to changes in the sea level at the inter-annual scale changes comproses 0,3 m per 1 cm. Climate changes in trajectories of passing cyclones have resulted in a 2-3 times increase in storm activity over the past 30 years. The contribution of natural factors into the shoreline changes do not exceed 10-15% according to our estimates. The main contribution is related to the background and point anthropogenic impacts. The first group includes overall reduction of sediment in the sea due to construction of reservoirs, cliffs closing with concrete embankments, reducing populations of benthic mollusks for various rea-sons, etc. The second group includes construction of hydraulic structures which do not address lithodynamics peculiarities in particular stretches of coastline.
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Goryachkin, Yuri, and Yuri Goryachkin. "COASTAL EROSION IN THE GULF OF KALAMITA AS A RESULT OF LONG-TERM ANTHROPOGENIC INFLUENCE." In Managing risks to coastal regions and communities in a changing world. Academus Publishing, 2017. http://dx.doi.org/10.31519/conferencearticle_5b1b93fc632f56.50816381.
Full textAbstract:
The Gulf of Kalamita is located in the Black Sea off the west coast of the Crimea and is known to be a major recreational area. However, in the last 30 years, its famous sandy beaches have drastically degraded. Degradation of sandy beaches was expressed in erosion of the coastal line (30-70 m) and reduction of the total area of beaches; disappearance of sand in a number of ar-eas in the near-shore zone and openings of marl; sharp increase of fragments of limestone in the composition of beaches. In the last 60 years, the level of the Black Sea has risen by 14 cm. Only this factor, as the calculations show, has caused about 15 mln m3 deficiency of deposits. Accord-ing to direct observations, shoreline response to changes in the sea level at the inter-annual scale changes comproses 0,3 m per 1 cm. Climate changes in trajectories of passing cyclones have resulted in a 2-3 times increase in storm activity over the past 30 years. The contribution of natural factors into the shoreline changes do not exceed 10-15% according to our estimates. The main contribution is related to the background and point anthropogenic impacts. The first group includes overall reduction of sediment in the sea due to construction of reservoirs, cliffs closing with concrete embankments, reducing populations of benthic mollusks for various rea-sons, etc. The second group includes construction of hydraulic structures which do not address lithodynamics peculiarities in particular stretches of coastline.