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Journal articles on the topic 'Spanish song'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Stephenson, Jean. "“Quizás, quizás, quizás”. Translators’ dilemmas and solutions when translating spanish songs into english." DEDiCA Revista de Educação e Humanidades (dreh), no. 6 (March 1, 2013): 139–51. http://dx.doi.org/10.30827/dreh.v0i6.6968.

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Rendering songs into another language poses numerous difficulties for translators. Songs may be considered as poems set to music, and in translating them, these professionals confront not only routine translation problems such as expressing the meaning, ambience and style of the original work, but they also have to attend to other requisites such as creating a new version of the song within the restrictions of rhythm and rhyme. In this article, I examine songs from Spanish literature and from Spanish and South American popular music, and explore translators’ ways of converting the original tex

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Abril, Carlos R. "Children'S Attitudes Toward Languages and Perceptions of Performers’ Social Status in the Context of Songs." International Journal of Music Education os-39, no. 1 (2002): 65–74. http://dx.doi.org/10.1177/025576140203900107.

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The purpose of this study was to examine the perceptions of 5th grade Spanish-English bilingual children toward songs performed in Spanish and English. After listening to each song, children answered a series of questions measuring their attitude towards the language, familiarity with the language, and judgment of the performer's social status. Children were found to have a significantly more favorable attitude toward English than Spanish in the context of song. They also rated English-singing performers to be of a higher social status. Furthermore, there was a significant positive correlation

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Girón-Negrón, Luis M. "“Your Dove-Eyes Among Your Hairlocks:” Language and Authority in Fray Luis De León's Respuesta Que Desde Su Prisón da a sus Émulos*." Renaissance Quarterly 54, no. 4-Part1 (2001): 1197–250. http://dx.doi.org/10.2307/1261971.

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This essay examines a 16th-century classic of Spanish humanist apologetics: the extant portion of fray Luis de Ledn 's defense of his Spanish translation of the Song of Songs against the Inquisition. The analysis highlights a Christian hebraist's contribution to contemporary debates on the applicability of humanist philology to biblical scholarship. An English translation of fray Luis’ famous respuesta accompanies the article.

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de la Rasilla del Moral, Ignacio. "The Swan Song of Universal Jurisdiction in Spain." International Criminal Law Review 9, no. 5 (2009): 777–808. http://dx.doi.org/10.1163/156753609x12507729201354.

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AbstractOn 29 April 2009 the Spanish National Court opened a cause against the "perpetrators, the instigators, the necessary collaborators and accomplices" of alleged tortures at the Guantanamo camp and other overseas detention facilities. Before examining how these and other causes currently opened in Spain under the principle of universal jurisdiction enshrined by Art. 23.4 of the Organic Law of the Judicial Branch (LOPJ) are likely to be affected by the legislative reform of that very provision approved by the Spanish Congress of Deputies on 25 June 2009, we will first examine the sinuous -

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García-Alandete, Joaquín, César Rubio-Belmonte, and Beatriz Soucase Lozano. "The Seeking Of Noetic Goals Revisited Among Spanish Young People." Journal of Humanistic Psychology 60, no. 1 (2017): 77–98. http://dx.doi.org/10.1177/0022167816686228.

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This study examined the factor structure and psychometric properties of the Seeking O f Noetic Goals (SONG) scale and analyzed the correlations with the Purpose in Life (PIL) scale and the gender-related differences. A cross-sectional method design was used. Participants were 349 Spanish undergraduates (225 women, 64.5%, and 124 men, 35.5%), with ages ranging between 18 and 26 years, M = 20.85, SD = 2.16. Spanish versions of both the SONG and PIL were used. A two-factor model (Need for Meaning and Expectations) with eight items (SONG-8), which showed a good fit and internal consistency, as wel

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Siebenaler, Dennis J. "Student Song Preference in the Elementary Music Class." Journal of Research in Music Education 47, no. 3 (1999): 213–23. http://dx.doi.org/10.2307/3345780.

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In 1996, the Music Educators National Conference (now MENC—The National Association for Music Education) published a list of 42 songs that “every American should know” as part of a nationwide campaign to promote singing. The purpose of the present study was to determine student preferences for several songs on the list, as well as how familiarity with a song may be related to that preference. In addition, possible interactions of gender, grade level, language spoken at home, rehearsal, and self-evaluations of singing were also examined. Ten songs, all limited to a one-octave range, were select

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Abril, Carlos R., and Patricia J. Flowers. "Attention, Preference, and Identity in Music Listening by Middle School Students of Different Linguistic Backgrounds." Journal of Research in Music Education 55, no. 3 (2007): 204–19. http://dx.doi.org/10.1177/002242940705500303.

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Monolingual (English) and bilingual (English, Spanish) sixth-grade students (N = 60) from two urban school settings in the United States listened to three versions of the same song (English, Spanish, and instrumental). While listening to each example, students tapped a computer touch pad every time they became distracted from the music. After listening, students described the nature of their distractions, and rated each song version for preference and identity. Finally, students were asked to describe the reason for their preference decisions. Analysis revealed no significant difference betwee

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Navarro-Cáceres, María, Hugo Gonçalo Oliveira, Pedro Martins, and Amílcar Cardoso. "Integration of a music generator and a song lyrics generator to create Spanish popular songs." Journal of Ambient Intelligence and Humanized Computing 11, no. 11 (2020): 4421–37. http://dx.doi.org/10.1007/s12652-020-01822-5.

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Abramicheva, E. N., and A. A. Petrakov. "INTERTEXTUALITY IMPLEMENTATION IN MODERN ENGLISH AND SPANISH ROCK-SONG DISCOURSE." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (2021): 236–45. http://dx.doi.org/10.35634/2412-9534-2021-31-2-236-245.

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The article is devoted to the study of the intertext in modern English and Spanish rock-song discourses. The research focuses on the sources of intertextual elements and methods of implementing intertextuality in rock compositions. The study is justified by the variety of forms and mechanisms of sense formation in rock-song discourse that serves as a peculiar communication medium in the contemporary multicultural world. The research shows that the intertext of the rock-song discourse is influenced by the precedent phenomena of social, political and cultural life of both an individual nation an

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10

Pring-Mill, Robert. "The roles of revolutionary song – a Nicaraguan assessment." Popular Music 6, no. 2 (1987): 179–89. http://dx.doi.org/10.1017/s0261143000005973.

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The term ‘protest song’, which became so familiar in the context of the anti-war movement in the United States during the 1960s, has been widely applied to the songs of socio-political commitment which have developed out of traditional folksong in most of the countries of Latin America over the past twenty years (see Pring-Mill 1983 and forthcoming). Yet it is misleading insofar as it might seem to imply that all such songs are ‘anti’ something: denouncing some negative abuse rather than promoting something positive to put in its place. A more helpful designation is that of ‘songs of hope and

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Ramos Barranco, Jose Rafael. "Los Morancos y los videoclips. De Omaíta a Despacito." RIHC. Revista Internacional de Historia de la Comunicación 2, no. 15 (2020): 130–47. http://dx.doi.org/10.12795/rihc.2020.i15.07.

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: In this work the textual and visual variations of the humorous videos of Los Morancos are analyzed, which are a Sevillian comic duo composed of the brothers César and Jorge Cadaval, in which themes of current Spanish politics are parodied. To do this, the artistic evolution of these comedians is studied to see if it is an innovative phenomenon within their scenic approach or is it an aspect that they have already developed from the beginning. In the same way, we ask ourselves if it is a particularity of these two artists on the Spanish scene or, on the contrary, if it falls within an artisti

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Hess, C. A. "The Spanish Song Companion. Devised and translated by Jacqueline Cockburn and Richard Stokes." Music and Letters 89, no. 1 (2008): 154–55. http://dx.doi.org/10.1093/ml/gcm069.

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Wheeler, Duncan. "Raphael and Spanish Popular Song: A Master Entertainer and/or Music for Maids." Arizona Journal of Hispanic Cultural Studies 16, no. 1 (2012): 11–30. http://dx.doi.org/10.1353/hcs.2012.0003.

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Balmatova, T. M. "GENDER RELATIONS IN SPANISH FLAMENCO CULTURE (BASED ON THE COLLECTION OF THE COUPLETS BY A. MACHADO ALVAREZ)." Culture and Text, no. 45 (2021): 211–26. http://dx.doi.org/10.37386/2305-4077-2021-2-211-226.

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The main theme of flamenco songs - urban folklore of Andalusia - is the relationship between a man and a woman. Couplets, written in the form of three or quatrains, tell about the evolution of feeling and serve as a source of information about the cultural, ideological and linguistic characteristics of the south of Spain. The authors of the couplets are representatives of an ethnoculturally heterogeneous socially vulnerable stratum of urban society. The purpose of the article is to understand the formation, existence and disintegration of the union of a man and a woman through the prism of a f

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García, Miguel Ángel. "La copla andaluza y los poetas." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 48, no. 2 (2013): 328–53. http://dx.doi.org/10.1075/rro.48.2.07ang.

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From the so-called «fin de siglo» to the thirties some of the Spanish poets relied on the folk song –and more specifically on the «cante jondo» or flamenco– to define an alleged Andalusian soul. In opposition to the cheerful, colourful and folkloric Andalusia described by poets like Reina and Rueda, there are other Modernist authors like Villaespesa, Sánchez Rodríguez, Juan Ramón Jiménez or Darío who refined the literary image of Andalusia from the distinctive notes of sadness or grief, thus initiating a thematic chain which from the twenties extended Lorca’s image of «Andalucía del llanto» un

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Cohen. "«JUST HARMONIZING IT IN THEIR OWN WAY»: CHANGE AND REACTION IN JUDEO-SPANISH SONG." Revista de Musicología 16, no. 3 (1993): 1578. http://dx.doi.org/10.2307/20796016.

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17

Emmer, Pieter C. "The Economic Impact of the Dutch Expansion Overseas, 1570–1870." Revista de Historia Económica / Journal of Iberian and Latin American Economic History 16, no. 1 (1998): 157–76. http://dx.doi.org/10.1017/s0212610900007084.

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How much did the Dutch economy benefit from its expansion beyond the borders of Europe? The simple answer is provided by the Dutch spectators at international soccer games, when they start to encourage their team by singing about the great achievements of Piet Heyn, who as an admiral of the Dutch fleet captured the Spanish flota off the Cuban coast in 1628. This song implies that the Dutch economy was gready stimulated by a one-time injection of «Spanish coins» and oranges. No doubt, both were very welcome indeed, but they did not seem to have constituted die economic impetus that made a diffe

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Vasvári, Louise O. ""A megcsalt férj", or Cunningly Lingual Wives in Hungarian Ballad Tradition." Hungarian Cultural Studies 2 (January 1, 2009): 48–57. http://dx.doi.org/10.5195/ahea.2009.16.

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The European ballad, an orally-performed narrative song, developed in the medieval period with many cross-fertilizations among ballad types in various language areas. Nevertheless, to date there have appeared only a handful of comparative studies of these pan-european themes, with investigations dominated by the Finnish geographical school, whose primary interest is in finding genetic archetypes. In this study, my aim is, rather, to do a typological and stylistic analysis of one wide-circulating song-type, known in many variants throughout the continent, some in comic and others in tragic vers

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Petrov, Vladislav O. "The Semantics of Death Image in “Madrigals” Supercycle by George Crumb." Observatory of Culture, no. 4 (August 28, 2014): 49–56. http://dx.doi.org/10.25281/2072-3156-2014-0-4-49-56.

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Considers a unique song cycle of the postmodern epoch - “Madrigals” by American composer George Crumb. The author addresses the semantic meaning of Death image in particular and reveals parallels in its representations by the composer and by Federico García Lorca. It is argued that Crumb used particular phrases of the Spanish poet and dramatist to create the original dramaturgy that deepened the tragic death imaging.

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20

Neruda, Pablo. "The Twenty Poems and A Song of Despair (Translated from the Spanish by Brian Cole)." Comparative Critical Studies 1, no. 1-2 (2004): 205–20. http://dx.doi.org/10.3366/ccs.2004.1.1-2.205.

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Rivera-Rideau, Petra, and Jericko Torres-Leschnik. "The Colors and Flavors of My Puerto Rico." Journal of Popular Music Studies 31, no. 1 (2019): 87–108. http://dx.doi.org/10.1525/jpms.2019.311009.

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Luis Fonsi and Daddy Yankee’s song “Despacito” shattered numerous records to become one of the most successful Spanish-language songs in U.S. pop music history. Declared 2017’s “Song of the Summer,” the “Despacito” remix featuring Justin Bieber prompted discussions about the racial dynamics of crossover for Latin music and Latina/o artists. However, little attention was paid to the ways that “Despacito”’s success in the Latin music market demonstrated similar racial dynamics within Latin music, especially in the song’s engagement with reggaeton, a genre originally associated with Black and wor

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Popielska, Klaudia. "The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era." Kwartalnik Młodych Muzykologów UJ, no. 46 (3) (2020): 21–37. http://dx.doi.org/10.4467/23537094kmmuj.20.035.13908.

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The second half of the nineteenth century is a neglected period in the history of Polish music, in the aspects of both research and performance. Works by many composers from this period have unfortunately been forgotten. One such composer is undoubtedly Aleksander Zarzycki (1834–1895), also a teacher and piano virtuoso, the author of more than 40 opuses, including many solo songs with piano accompaniment, which have frequently been compared to the songs of Stanisław Moniuszko. Similarly as Poland’s most famous song composer, Zarzycki created two songbooks that belong to the trend of egalitaria

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Weston, Gavin Michael. "Song featuring lyrics ‘Oh Senor…’ quite a lot’: Mayan Evangelical Singer." Suomen Antropologi: Journal of the Finnish Anthropological Society 43, no. 2 (2019): 67–70. http://dx.doi.org/10.30676/jfas.v43i2.77599.

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In the first few months of my PhD fieldwork in Guatemala excitement and unease regarding my new life as an anthropologist fed an epic bout of insomnia exacerbated by a mouse who shared my shed-like sleeping quarters and liked to climb on my face during my sleep. Sleep was also hampered by a song, largely in Mam, but with two words in Spanish played with disturbing frequency through crackly loud speakers late into the night and from early in the morning. As a non-Mam-speaker the words meant nothing to me until the refrain of ‘Ohhhhhhh seññññoooooorrrr’ came around again. My sleep deprived brain

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Rovner, Adam. "So Easily Assimilated: The New Immigrant Chic." AJS Review 30, no. 2 (2006): 313–24. http://dx.doi.org/10.1017/s0364009406000158.

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Last year, a friend drew my attention to the lyrics of a famous song in Leonard Bernstein’s Candide, the composer’s first attempt in 1956 to write the “Great American Opera.” The song, “I Am Easily Assimilated,” remains one of the best-loved musical numbers from the play and includes the following lines: My father came from Rovno Gubernya.But now I’m here, I’m dancing a tango….My father spoke a High Middle Polish.In one half-hour I’m talking in Spanish:Por favor! Toreador!I am easily assimilated.I am so easily assimilated. The irreverent lyrics are often credited to Bernstein himself and refer

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Hancock-Parmer, Teresa. "The Spanish ‘Shulamite Brides’: The Song of Songs in Teresa of Ávila, Mariana de San Joseph and María de Jesús de Ágreda." Bulletin of Spanish Studies 95, no. 1 (2018): 27–54. http://dx.doi.org/10.1080/14753820.2018.1436492.

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Garcia, Katerina. "La alegría de Jako: A Judeo-Spanish Song as a Reflection of Linguistic and Cultural Syncretism." Studies in Arts and Humanities 3, no. 2 (2017): 29–38. http://dx.doi.org/10.18193/sah.v3i2.112.

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Araüna, Núria, Iolanda Tortajada, and Mònica Figueras-Maz. "Feminist Reggaeton in Spain: Young Women Subverting Machismo Through ‘Perreo’." YOUNG 28, no. 1 (2019): 32–49. http://dx.doi.org/10.1177/1103308819831473.

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This article explores the feminist potential of the Spanish ‘reggaeton’ movement led by young women through the song lyrics and public discourses of artists Brisa Fenoy, Ms Nina and Tremenda Jauría. These three singers and composers have been categorized as belonging to reggaeton genre, in a context in which Feminism is widespread among young people in Spain. Reggaeton is commonly considered (both in popular culture and academic studies) a sexist musical style, inherently male-centred in the way its songs and its ‘perreo’ dancing style are performed, and also in the pleasure provided to their

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Filmer, Alice A. "Discourses of Legitimacy: A Love Song to Our Mongrel Selves." Policy Futures in Education 7, no. 2 (2009): 200–216. http://dx.doi.org/10.2304/pfie.2009.7.2.200.

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In an intervention that blurs methodological boundaries traditionally separating the researcher from the researched, history from poetry, and the personal from the political, the author weaves a narrative account of her Euro-American family's early history in California into a larger set of social and historical events taking place during the nineteenth century. She employs the metaphor of ‘legitimacy’ to trace her growing awareness of the physical, psychological, and political parallels at work in the colonization of lands, cultures, and bodies in the ‘New World’. Providing context for the mi

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Platonova, O. A. "Salsa and Santeria: to the Problem of Desacralization of a Ritual." Observatory of Culture, no. 3 (June 28, 2015): 52–58. http://dx.doi.org/10.25281/2072-3156-2015-0-3-52-58.

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Salsa and Santeria: to the Problem of Desacralization of a Ritual (by Olesia Platonova) is dedicated to the dialogue between a popular genre (salsa) and a religion (Santeria) in the context of desacralization of a ritual. Comparing salsa and other genres, like gospel, spiritual, Christian rock, the author notes a profound connection between a song and a personal spiritual experience of the musician, analyses some examples of the genre: subject symbolism, color symbolism, bilingualism of texts (the Spanish and Yoruba languages), music quotations of Santeria’s hymns.

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Green, Edward. "Interview with Composer Diego Sánchez Haase." ICONI, no. 1 (2020): 57–67. http://dx.doi.org/10.33779/2658-4824.2020.1.057-067.

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ICONI Magazine is proud to present an interview conducted by Dr. Edward Green, professor at the Manhattan School of Music, with Maestro Diego Sánchez Haase, the most distinguished musician yet produced by the nation of Paraguay. First and foremost a composer, with works in many different genres, Haase is likewise a major orchestral conductor, and a powerful advocate for the music of Bach. This interview includes discussion of his operas Pancha y Elisa (2018) and Ñomongeta (2019) — each rooted in the history and culture of Paraguay: the latter opera being the fi rst ever to have its libretto in

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Torrente, Álvaro, and Pablo-L. Rodríguez. "The ‘Guerra Manuscript’ (c.1680) and the Rise of Solo Song in Spain." Journal of the Royal Musical Association 123, no. 2 (1998): 147–89. http://dx.doi.org/10.1093/jrma/123.2.147.

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The discovery of a new anthology of secular songs from Madrid fills an important lacuna in our understanding of secular music in seventeenth-century Spain. The Biblioteca Xeral of the University of Santiago de Compostela — near the romanesque cathedral for which the famous Codex Calixtinus was written — preserves a manuscript of 111 folios (E-SCu MS 265) which has hitherto escaped the attention of both musicological and literary scholars. It contains 100 anonymous songs, all but two for solo voice and continuo, and was copied by a certain José Miguel Guerra, scribe of the Spanish Royal Chapel.

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Duque, Adriano. "Women Watering Basil Plants: New Insights into a Spanish Moroccan Folktale." Boletín de Literatura Oral 9 (July 15, 2019): 143–58. http://dx.doi.org/10.17561/blo.v9.7.

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This paper examines the Spanish song «Princesita que riega la albahaca» and compares it with other Moroccan versions of the folk tale. Although loosely based on the encounter between King Solomon and Queen Sheba, the story incorporates a series of elements from different folk traditions, while insisting on the motif of the husband-seeking maiden. Drawing on the motifs of the garden or the mother, the essay examines how the protagonist of the story uses the metaphor of the Basil plant to articulate relations of exogamy and to question social assumptions regarding the role of women and their soc

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Gutiérrez Lozano, Juan Francisco. "Spain Was Not Living a Celebration." Europe on and Behind the Screens 1, no. 2 (2012): 11. http://dx.doi.org/10.18146/2213-0969.2012.jethc014.

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Franco’s Dictatorship (1939-1975) used Spanish Television (TVE) as a key element in the political propaganda of its apparent ‘openness’ during the 1960s. The propaganda co-existed with political interest in showing the technological development of the media and the international co-operation established with other European broadcasters, mainly in the EBU. In a country ruled by strong political censorship, the Eurovision Song Contest was used as a political tool to show the most amiable image of the non-democratic regime. Spain’s only two Eurovision wins (1968 and 1969) are still, 50 years on,

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Clarke, Jacqueline. "Bridal Songs: Catullan Epithalamia and Prudentius Peristephanon 3." Antichthon 40 (2006): 89–103. http://dx.doi.org/10.1017/s0066477400001672.

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Prudentius' account of the martyrdom of the young Spanish girl Eulalia in Peristephanon 3 is particularly interesting because not only does it consist of her defiance of an order to pay homage to the pagan gods but also a rejection of pressures to get married. If martyrdom constituted an act of rebellion against the conventions of pagan society, then female martyrdom was doubly so and the ways in which it was presented to a community in which Christianity was still struggling to establish its reputation is worthy of detailed examination. Prudentius was arguably the Christian poet most influenc

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Townsend, Camilla. "“What in the World Have You Done To Me, My Lover?” Sex, Servitude, and Politics among the Pre-Conquest Nahuas as seen in the Cantares Mexicanos." Americas 62, no. 03 (2006): 349–89. http://dx.doi.org/10.1017/s0003161500064518.

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The year 13-Reed [1479]. It was at this time that the people of Ame-cameca and the Chalcas Tlalmanalcas came to sing for the first time in Mexico. At that time they performed the song of the women of Chalco, the Chalca Cihuacuicatl. They came to sing for the lord Axayacatzin. The song and the dance were begun in the patio of the palace while Axayacatl was still inside in the house of his women. But in the beginning the song was poorly performed. A noble of Tlalmanalco was playing the music very clumsily, and making the great drum sound in a lazy offbeat way until finally in desperation he lean

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Townsend, Camilla. "“What in the World Have You Done To Me, My Lover?” Sex, Servitude, and Politics among the Pre-Conquest Nahuas as seen in the Cantares Mexicanos." Americas 62, no. 3 (2006): 349–89. http://dx.doi.org/10.1353/tam.2006.0048.

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The year 13-Reed [1479]. It was at this time that the people of Ame-cameca and the Chalcas Tlalmanalcas came to sing for the first time in Mexico. At that time they performed the song of the women of Chalco, the Chalca Cihuacuicatl. They came to sing for the lord Axayacatzin.The song and the dance were begun in the patio of the palace while Axayacatl was still inside in the house of his women. But in the beginning the song was poorly performed. A noble of Tlalmanalco was playing the music very clumsily, and making the great drum sound in a lazy offbeat way until finally in desperation he leane

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37

Kelly, Laura, and Cinthya Bolanos. "From Outreach to Translanguaging: Developing a Bilingual Storytime." Children and Libraries 18, no. 3 (2020): 28. http://dx.doi.org/10.5860/cal.18.3.28.

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A college student shows the illustrations of the bilingual book What Can You Do with a Rebozo? She turns to several pages that she has marked, shows the pictures to children gathered for bilingual storytime, and talks about each picture in English. The student stops on the page that describes a baile, or dance, that the child in the book does with her mamá’s rebozo, or brightly colored shawl. The student reads this page in Spanish and asks the children if they would like to dance with their own rebozos. The children excitedly say they would, and the student passes out play scarves. The childre

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Candelaria, Lorenzo. "Bernardino de Sahagún's Psalmodia Christiana:." Journal of the American Musicological Society 67, no. 3 (2014): 619–84. http://dx.doi.org/10.1525/jams.2014.67.3.619.

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In Mexico City, 1583, Pedro Ocharte published the first book of vernacular sacred song in the Americas—the Psalmodia Christiana (Christian Psalmody) by Bernardino de Sahagún, a Spanish missionary of the Franciscan Order. Sahagún composed his book of 333 songs in the Nahuatl language during the second half of the sixteenth century to promote the formation of Catholic Mexica (better known as “Aztec”) communities in the central valley of Mexico. Well-received in its day as a primer on tenets of the Catholic faith, the life of Christ, and the virtues of the saints, it was denounced before the Inqu

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Yenilmez, Fatma. "Canary Production." Turkish Journal of Agriculture - Food Science and Technology 8, no. 4 (2020): 941–44. http://dx.doi.org/10.24925/turjaf.v8i4.941-944.3197.

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Canary (Serinus canarius) is one of the most beautiful cage birds. They are small and delicate songbird species. Their origin is the Canary Islands in the Atlantic Ocean. They were first brought to Europe by the Spanish sailors in 1478. Than Britain, Germany, France, Netherlands and Italy were started professional canary breeding. The wild ones live in flocks, mostly on the edge of wooded lakes and creeks. While the color of canaries grown in cages is completely yellow, the wild ones are gray-green. Sound in the wild canary is stronger and more impressive. There are 3 types of canaries commonl

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Pektaş, Songül, and Betül Akyol. "Effects on Motor Development and Performance Levels of Physical Activity in Music Accompaniment on Children with Developmental Deficiencies." Journal of Education and Training Studies 6, no. 12a (2018): 7. http://dx.doi.org/10.11114/jets.v6i12a.3743.

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The aim of this study was to investigate the effects of physical activity with music on motor development and performance in children with developmental deficiencies. The study includes twenty children with developmental deficiencies, aged between 10-15 years old. Children were classified into two groups randomly and both groups were given 1 hour of training 3 days a week for 20 weeks. Physical activity with English and Spanish verbal song was used for the first group and only physical activity for the second group. Each participant participated in shuttle, shuttle run, flexibility, standing l

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ABDULSATTAR JABBAR, HABEEB. "LA CORRIENTE ROMANTICO Y LA LITERARTURA ESPANOLA." Al-Adab Journal 1, no. 127 (2018): 57–65. http://dx.doi.org/10.31973/aj.v1i127.201.

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 The romantic movement is regarded as rational and article movement which is appeared. The beginning of ninth century in spite of the start point was in the end of eighteenth century. This movement spreads in the fields of music, literature, drawing and carving. It is a movement which includes all these fields and refused the modern classical method. It is submitted to literary and comedy modes and change the champions of the ascendance in literary works and create an element of exaggeration in irrational describing in order to escape from reality. It used the imagination and reali

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Martín, Annabel. "Eloy E. Merino and H. Rosi Song, eds.Traces of Contamination:Unearthing the Francoist Legacy in Contemporary Spanish Discourse(Lewisburg, PA: Bucknell UP, 2005). 305 pp. ISBN 0838755968." Journal of Spanish Cultural Studies 9, no. 2 (2008): 257–59. http://dx.doi.org/10.1080/14636200802283860.

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Ettekal, Andrea Vest, Sandra D. Simpkins, Cecilia Menjívar, and Melissa Y. Delgado. "The Complexities of Culturally Responsive Organized Activities: Latino Parents’ and Adolescents’ Perspectives." Journal of Adolescent Research 35, no. 3 (2019): 395–426. http://dx.doi.org/10.1177/0743558419864022.

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Grounded in bioecological theories, this mixed-method article examines aspects of culturally responsive organized activities. Study 1 used path analysis to quantitatively test relations between ethnic cultural features of activities (ways of integrating ethnic culture) and concurrent experiences ( N = 150 Latino adolescents). Findings were mixed, such that some features (e.g., teaching ethnic culture) predicted positive (e.g., increased autonomy) and negative (e.g., emotional) experiences. Study 2 disentangled the nuances of ethnic culture by qualitatively exploring perspectives on three featu

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Arenillas Meléndez, Sara. "Empoderamiento y masculinidad en la estrategia de género de Alaska = Empowerment and masculinity in the gender strategy of Alaska." FEMERIS: Revista Multidisciplinar de Estudios de Género 3, no. 2 (2018): 109. http://dx.doi.org/10.20318/femeris.2018.4322.

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Resumen. La cantante Alaska ha sido uno de los iconos más representativos de la modernidad en España, participando de forma destacada en la Movida. Según Alberto Mira (2004), el rasgo que definió a la Movida fue la adopción del modelo camp de homosexualidad. En este artículo, proponemos un análisis del discurso de género de Alaska, cuyo rasgo más destacado sería la adopción de este modelo camp de homosexualidad. Para ello, hemos comparado la versión que realizó del tema Quiero ser Santa con la original de Parálisis Permanente, y analizado su dúo con Loquillo en El ritmo del garaje y su canci

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García-García, Lucía, Guzmán Antonio Muñoz-Fernández, José Miguel Valverde-Roda, and Antonio Menor-Campos. "The Cultural Tourism and Flamenco." Journal of Social Sciences Research, no. 61 (January 5, 2020): 32–39. http://dx.doi.org/10.32861//jssr.61.32.39.

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Flamenco is a living art that excites and awakens the senses of those who witness such a dance, singing and guitar show. It is a way of expressing feelings. Flamenco was considered a world intangible heritage of humanity by UNESCO and is a part of the identity and culture of Andalucía, place where it originated. Flamenco is a symbol of Spanish culture around the world. In addition, it has been discovered that there is a typology of flamenco tourists whose motivation is related to the search of experience and authenticity in the tourist destination. A search of published scientific articles on

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García-García, Lucía, Guzmán Antonio Muñoz-Fernández, José Miguel Valverde-Roda, and Antonio Menor-Campos. "The Cultural Tourism and Flamenco." Journal of Social Sciences Research, no. 61 (January 5, 2020): 32–39. http://dx.doi.org/10.32861/jssr.61.32.39.

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Flamenco is a living art that excites and awakens the senses of those who witness such a dance, singing and guitar show. It is a way of expressing feelings. Flamenco was considered a world intangible heritage of humanity by UNESCO and is a part of the identity and culture of Andalucía, place where it originated. Flamenco is a symbol of Spanish culture around the world. In addition, it has been discovered that there is a typology of flamenco tourists whose motivation is related to the search of experience and authenticity in the tourist destination. A search of published scientific articles on

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García-Alandete, Joaquín, César Rubio-Belmonte, and Beatriz Soucase Lozano. "A Replication of the Reker and Cousins’ Study About the Complementarity Between the Purpose-In-Life Test (PIL) and the Seeking of Noetic Goals (SONG) Among Spanish Young People." Journal of Happiness Studies 19, no. 1 (2016): 81–97. http://dx.doi.org/10.1007/s10902-016-9810-5.

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Graham-Jones, Jean. "“The Truth Is . . . My Soul Is with You”: Documenting a Tale of Two Evitas." Theatre Survey 46, no. 1 (2005): 67–78. http://dx.doi.org/10.1017/s0040557405000050.

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One evening in 1973, or so the story goes, Tim Rice caught the last part of a BBC program about Eva Perón on his car radio. Intrigued enough to make a point of tuning into a later rebroadcast, he became fascinated with this woman, whose single saving grace—he later stated—was that “she had style, in spades.” In late 1976, after more than two years spent researching, writing, composing, and recording (and one or two trips to Buenos Aires), Rice and Andrew Lloyd Webber released the studio album of Evita, their rock-opera follow-up to the hugely successful Jesus Christ Superstar. They would not w

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Sierra Fernández, Gustavo. "Épica en el arte: el caso de la canción de autor." Laocoonte. Revista de Estética y Teoría de las Artes, no. 4 (December 12, 2017): 272. http://dx.doi.org/10.7203/laocoonte.0.4.11071.

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Existe el concepto de épica que todo el mundo conoce más o menos: las hazañas heroicas de una persona individual. Pero debajo de él subyacen otras concepciones, como es la lucha cotidiana de héroes anónimos que se enfrentan cada día a su existencia, y que en cuanto dichas luchas tienen rasgos comunes entre personas parecidas, se convierte en una epopeya; también es concebible como la lucha histórica de un grupo marinado por el reconocimiento de sus derechos y su supervivencia. El arte se ha ocupado de estas otras nociones, especialmentea partir del siglo XIX, con el surgimiento de lo social en

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Salvucci, Richard. "Economic Growth and Change in Bourbon Mexico: A Review Essay." Americas 51, no. 2 (1994): 219–31. http://dx.doi.org/10.2307/1007926.

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About twenty years ago, the Mexican SepSetentas series publishedLa historia económica en América Latina, the proceedings of a symposium held at the thirty-ninth International Congress of Americanists. For many novice historians of Mexico, the SepSetentas collectionavailable for ten (very old) pesos each at fine shops in the Metro, or at Sanborns-were Penguins or Pelicans of a lesser sort. Graduate students eagerly awaited new volumes, and scoured the streets for older ones. SepSetentas published some first-rate items, and, alas, some not-so-first-rate ones.La historia económica en América Lati

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