Bibliografías temáticas / Roots (Botany) – Songs and music – Texts

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Literatura académica sobre el tema "Roots (Botany) – Songs and music – Texts"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Roots (Botany) – Songs and music – Texts"

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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (2019): 85. http://dx.doi.org/10.3390/rel10020085.

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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle
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Szczepaniak, Colette, and Aleksander Cywiński. "Pedagogia intelektualisty publicznego na przykładzie życia i twórczości Gordona Matthew Sumnera (Sting)." Parezja. Czasopismo Forum Młodych Pedagogów przy Komitecie Nauk Pedagogicznych PAN, no. 1(19) (2023): 67–78. http://dx.doi.org/10.15290/parezja.2023.19.06.

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G.M. Sumner (Sting) is a teacher and pedagogue by education. After a short period of schoolwork, he began a career as a professional musician. As a musician with pedagogical education (from the second half of the 1970s to the present day), he achieved significant successes in the artistic field, functioning not only in the real world but also in the digital world, thanks to the mediatized everyday life, currently existing in many different social media. We believe that Sting is a Public Intellectual not least because of the message his songs convey, but also because of his charity work and inv
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BODURIAN, Agota. "The evolution of Armenian liturgical music." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (2020): 39–48. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.4.

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"The purpose of this paper is to briefly outline the evolution of Armenian music, from Antiquity to the nineteenth century. The troubled history of the Armenian people defines to a great extent the way the arts have developed, and also the way that vast and rich culture that characterizes the Armenian people, spread throughout the world, has formed. Starting from the earliest roots of music, our study follows the path of the different secular and liturgical genres, which developed in close correlation over the centuries. The paper presents the local traditions and the influences of the peoples
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JOUBERT, ESTELLE. "SONGS TO SHAPE A GERMAN NATION: HILLER’S COMIC OPERAS AND THE PUBLIC SPHERE." Eighteenth Century Music 3, no. 2 (2006): 213–30. http://dx.doi.org/10.1017/s1478570606000583.

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In this article I assert that our modern understanding of the singspiel as a genre has been shaped not by eighteenth-century principles but rather by nineteenth-century notions of ‘romantic’ German opera. In contrast to a later through-composed ideal, Johann Adam Hiller’s comic operas, often viewed as the prototype of the German comic genre, were designed precisely in order that the songs might easily be detached from the spoken dialogue, disseminated outside of the public opera house and sung by audiences in various other contexts. The express purpose of these songs, as articulated by librett
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Burtsev, Mуkyta. "Christian images in chamber vocal music of Western Europe of the 19–20th centuries." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, no. 66 (2023): 27–41. http://dx.doi.org/10.34064/khnum1-66.02.

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Statement of the problem. The development and popularization of vocal genres in performance practice of the 19th century was accompanied by a tendency to move liturgical singing to concert halls. Its consequence was the appearance of a new genre variety – “sacred song”. This is a chamber composition for the voice and piano with a brightly pronounced sacred meaning of the poetic base (sometimes borrowing texts from the Bible). Despite the fact, that vocal music was dominated by secular themes at that time (sometimes even demonic, as evidenced by the popularity of the image of Mephistopheles), r
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Di Santo, Federico. "Sull’origine della poesia romanza: ipotesi andalusa e mediolatina alla luce del rapporto fra rima e melodia." Zeitschrift für romanische Philologie 135, no. 2 (2019): 535–82. http://dx.doi.org/10.1515/zrp-2019-0029.

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AbstractWithin the long-standing, and yet still lively debate over the origin of Romance poetry in general, and of regular rhyme in particular, one key element appears to have been often overlooked: music. Although it is very well known that Troubadour lyric poems were meant to be sung, their melodic form has so far indisputably been considered to be independent from the formal structure of the texts. However, a radical reconsideration of this common belief, based on a brand-new approach that takes orality into account, leads to the opposite conclusion that regular rhyme schemes, at their orig
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7

Zhang, Xiqui. "Interpretive properties of recitation in the vocalist’s performing arts." Aspects of Historical Musicology 21, no. 21 (2020): 247–60. http://dx.doi.org/10.34064/khnum2-21.16.

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Background. One of the main positions of the vocalist’s practice is to understand the recitation as a kind of interpretation of the musical text, which is fixed in the notes. In the process of performing a piece of music, be it the song, the romance, the recitative, the aria in an opera or a musical drama, one specific variant is selected each time from its many potential meanings. This is the performer’s interpretation of the declamatory intonation, because the composer usually does not indicate the tone, timbre and strength of the voice, minimally orienting a singer in the desired intonation
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Hauser, Michael. "Traditional Inuit songs from the Thule area. Volume 1." Meddelelser om Grønland. Man & Society 36 (October 14, 2024). http://dx.doi.org/10.7146/mog-ms.v36.150183.

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This publication deals with the traditional song of the Inuit, primarily Inughuit from the Thule area, but also from Baffin Island and the Copper Inuit and Uummannaq and Upernavik areas, based on sound recordings from 1909, 1912, 1915, 1937, 1962 and 1984. In 1937 Professor Erik Holtved (1899-1981) recorded 134 traditional songs: no drum-songs and 24 other songs. Transcriptions and scientific processing of this collection is the nucleus of this work. The songs are presented/notated in their full length - with drum accompaniment and the texts/ singing syllables used - but also with analyses of
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9

Kulyniak, Mykhailo. "Music and Song Folklore in Modern Ukrainian Culture." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 4 (February 14, 2025). https://doi.org/10.32461/2226-3209.4.2024.322902.

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The purpose of the article is to investigate the use of music and song folklore in the modern Ukrainian cultural space, to identify trends in the adaptation of folklore sources, symbols, and ethnocodes in artistic projects that represent the Ukrainian cultural mentality. Research methodology. To achieve the goal, the following methods were used: art history – contributed to the understanding of Ukrainian folk art as a type of artistic activity; culturological – made it possible to identify the place of folklore in modern musical culture; analysis, synthesis, and generalisation – made it possib
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10

Cover, Rob. "Reading the Remix: Methods for Researching and Analysing the Interactive Textuality of Remix." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.686.

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IntroductionWith the proliferation of remixed (audio-visual) texts such as fan music videos, slash video, mash-ups and digital stories utilising existing and new visual and audio material on sites such as YouTube, questions are opened as to the efficacy of current forms of media textual analysis. Remixed texts have been positioned as a new and transformative form of art that, despite industry copyright concerns, do not compete with existing texts but makes use of them as ‘found material’ in order to produce an ostensibly intertextual experience (Lessig). Intertexts include pastiche, parody and
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Libros sobre el tema "Roots (Botany) – Songs and music – Texts"

1

Thirsty Roots. Cantata Learning, 2017.

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Thirsty Roots. Cantata Learning, 2017.

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3

Thirsty Roots. Cantata Learning, 2019.

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4

Geflochtenes Süßgras: Die Weisheit der Planzen. 8th ed. Aufbau Verlag, 2021.

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5

Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants. Milkweed Editions, 2013.

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6

Kimmerer, Robin Wall. Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants. Milkweed Editions, 2020.

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BRAIDING SWEETGRASS. Milkweed, 2013.

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8

Kimmerer, Robin Wall. Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants. Penguin Books, Limited, 2020.

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9

Kimmerer, Robin Wall. Braiding Sweetgrass / una Trenza de Hierba Sagrada: Saber Indígena, Conocimiento Científico y Las Enseñanzas de Las Plantas. HarperCollins Español, 2024.

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10

Kimmerer, Robin Wall. Tresser les herbes sacrées: Sagesse ancestrale, science et enseignements des plantes. LOTUS ELEPHANT, 2021.

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