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Napoletano, Margo A. "Teaching Adolescent Psychology Using Popular Song Lyrics." Psychological Reports 62, no. 3 (1988): 975–78. http://dx.doi.org/10.2466/pr0.1988.62.3.975.
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11 popular songs were evaluated by 14 students enrolled in a section of adolescent psychology. Songs were selected for their potential to illustrate psychological concepts, such as, identity crisis, psychotic behavior, and personal fable. After lecture on a particular topic, a song relevant to that topic was played and discussed. Lyrics that illustrated certain concepts were identified. Students evaluated each song for its effectiveness in aiding their understanding of concepts. End-of-semester evaluations indicated increased scores on measures of critical thinking and comprehension of subject matter, which would suggest continued use of songs is appropriate.
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ZEFA, EDISON, LUCIANO DE PINHO MARTINS, CHRISTIAN PETER DEMARI, et al. "Singing crickets from Brazil (Orthoptera: Gryllidea), an illustrated checklist with access to the sounds produced." Zootaxa 5209, no. 2 (2022): 211–37. http://dx.doi.org/10.11646/zootaxa.5209.2.4.
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The knowledge of bioacoustics of the Neotropical crickets (Orthoptera, Gryllidea) is incipient, despite the great species diversity in the region. There are few cricket song-files deposited in the major World Sound Libraries, compared to other groups such as birds and amphibians. In order to contribute to the knowledge of the bioacoustics of Brazilian crickets, we organize, analyze and make available at Fonoteca Neotropical Jacques Vielliard (FNJV) and Orthoptera Species File (OSF) our bank of cricket songs. We deposited 876 cricket’s song files in the FNJV, belonging to 31 species and 47 sonotypes. The songs were field/lab recorded, and all individuals were collected to improve species/sonotypes taxonomic determination accuracy. We present photos (in vivo) of most recorded crickets, as well as calling song spectrograms to facilitate the species/sonotype recognition. Samples of the songs can be found online on the FNJV website, using the codes available in this work, as well as on the OSF, linked to the species name. As a result, we advance the knowledge of the songs of crickets and the current perspective of the Brazilian cricket bioacoustics. We encourage researchers to share with the public their collections of their cricket file songs both in the FNJV and the OSF.
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Hudson, Stephen S. "Song form and storytelling in mainstream metal." Metal Music Studies 9, no. 1 (2023): 7–26. http://dx.doi.org/10.1386/mms_00092_1.
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This article builds on a new theory of metal song form () to show how different versions of compound AABA form can carry narrative meaning, illustrated by analyses of a number of famous metal songs in mainstream (i.e. not underground/extreme) styles. First, I discuss how some songs about rituals use conventional compound AABA form such that the ‘transformation’ event of the ritual occurs during the song’s B section, focusing on examples by Mercyful Fate and Ghost. Next, I show how several metal ballads use a shortened version of the conventional form (AAB) to depict a protagonist who loses control, getting ‘stuck’ at the same time as the form gets ‘stuck’ in the B section, focusing on examples by Metallica and Pantera. I end with a short analysis showing how aspects of these two established strategies are combined in a unique pairing of form and narrative in Iron Maiden’s ‘Run to the Hills’. As I analyse these songs, I explore how musical form can structure fans’ participation in the music and shape their experiences of these songs’ stories.
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PERRY, ESTHER JOHN, and COLLIN JEROME. "‘A CURSE OR A BLESSING?’: THE FATE OF IBAN WOMEN IN ‘ADAT NGUAI’ AS ILLUSTRATED BY LITERARY DEVICES IN IBAN SONG LYRICS." Iasaýı ýnıversıtetіnіń habarshysy 122, no. 4 (2021): 20–26. http://dx.doi.org/10.47526/2021-4/2664-0686.02.
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Numerous studies have examined the depictions of men and women inIban songs. Such depictions revolve around the traditional roles of Iban men and women in both public and private domains. More studies, however, are needed to examine the nuances of these depictions, given the fact that many Iban popular songs portray gender in traditional Iban society. This paper aims to examine such nuances by exploring the fate of women in female Iban songs particularly on their rights and treatment by others as illustrated in the song lyrics. This study adopts the qualitative research design by using content analysis to analyze the description of Iban married women who decided to move out and live at their spouse home in two songs namely, ‘Tusah Belaki Nguai’ by Swaylin and ‘Tusah Nyadi Menantu’ by Linda Simai. The results show that the Iban women are 1) depicted as ‘nguai’ to her husband, who are submissive to the in laws and the husband, and 2) expected to display the quality of ‘indu tampun puji’ or ‘menantu ke dipilih’, that refers to the ideal concept of an Iban woman who is both hardworking and capable to manage the household.
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Lipenga, Timwa. "La Traduction et l’alternance de code linguistique dans la musique de Yemi Alade." International Journal of Francophone Studies 24, no. 3 (2021): 221–40. http://dx.doi.org/10.1386/ijfs_00039_1.
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This article focuses on the links between translation and code-switching in selected songs by Yemi Alade. The songs under study were originally composed and interpreted in English before being translated into French. The original lyrics do not translate the instances where Yoruba and Igbo code-switching occurs, whereas the French versions frequently translate such instances. The article argues that these translations of code-switching serve to re-examine preconceived notions about a song and its translation. The argument demonstrates that it is possible for a song to ‘gain’ in translation, and this is illustrated by Alade’s translated songs. The article also focuses on the extent to which the Derridean perspective of the supplement and that of différance can be applied to music translation. The four songs ‘Johnny’, ‘K-I-S-S-I-N-G’, ‘Africa’ and ‘Ferrari’ have been chosen because they feature instances of code-switching. The article looks at the degree to which one can talk about loss during translation and the supplementary meanings of language in the four songs. finally, it reflects on the implications of linguistic choices for a musician in postcolonial Africa; ordinarily, African writers are the ones who are interrogated regarding language choice, but the question of language is one which confronts every form of art on the continent.
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Minnullin, Kim Mugallimovich, and Liliya Minnullovna Giniyatullina. "The role of lexical repetition in the texts of Tatar songs." Philology. Issues of Theory and Practice 16, no. 10 (2023): 3597–601. http://dx.doi.org/10.30853/phil20230557.
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The aim of the study is to determine the role of lexical repetition in the formation of syntactic links between sentences in the texts of Tatar songs. The paper analyses the function of this linking means in the formation of a chain link. The scientific novelty of the study lies in carrying out a comprehensive analysis of the use of lexical repetitions in poetic texts and identifying the structural features of Tatar songs. It is the first time that the types of syntactic links that are established through lexical repetition between sentences in the texts of Tatar songs have been identified and illustrated with examples. As a result, the syntactic relations between the parts of sentences that are formed through lexical repetition have been determined; the following syntactic links between sentences that are most characteristic of song lyrics have been revealed: “subject – object”, “object – subject”, “subject – subject”, “object – object”, “attribute – subject”.
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Žičkienė, Aušra. "Let Us Raise and Clang Our Glasses! Tracing the History of the Student Songs." Tautosakos darbai 50 (December 28, 2015): 153–82. http://dx.doi.org/10.51554/td.2015.28995.
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The article aims at revealing the vitality of the oral cultural pattern as illustrated by the songs spread by perhaps the most literate community – students. The analysis of Lithuanian student songs focuses on two compositions that have been favored by students for quite a long time, travelling between European universities orally (at least in part) and sometimes even radically changing their shape.One of these songs is entitled Krambambuli (that is also the name of a strong liquor). It appeared in Lithuania in relation to the establishment of the student corporations following the German example. Yet among the Lithuanian students during the interwar period not the translated German song grew popular, but its local Lithuanian version. The Lithuanian Krambambuli inherited certain traits not only from its German predecessor, but also from the folkloric variants of the Russian translation, including some peculiarities of both the lyrics and melody, and certain additional features. By way of oral learning, dissemination, and variation this song was popular until the beginning of the 1960s. After Lithuania regained its independence and corporations renewed their activities at the universities, the song Krambambuli started sounding again, but today it cannot be regarded as a popular song. Members of the corporations learn it purposefully, as traditional heritage, which should be preserved and respected. Today Krambambuli seems to have turned into a presentable, “show” composition; it is difficult to say if it is ever going to find its way back into folklore proper again, enriching the treasury of the spontaneously developing folk creativity.Another song, the history of which we also use here as an illustration, is given a provisory title “Let Us Raise and Clang Our Glasses!” according to the prevailing lines of its refrain. Its melody, adapted from an Italian student song of the beginning of the 20th century, travelled to Lithuania via Russia, followed by the lyrics, which in Lithuania, however, was transformed into a patchy medley of unrelated humorous couplets. In Lithuania, this song exists and is learned almost exclusively orally, while its fragments “behave” in the virtual space not unlike the paremias: they are used to season the speech, to illustrate, to accentuate the peculiarity of the situation, or even as punchlines in certain funny situations.The first thing that draws attention when we attempt generalizing the history of the both long-lived student songs in question is the fact that they are male songs; incidentally, this tendency can be observed in the corpus of the student songs even today, although the student community has long ago ceased to be a masculine one. Masculinity, frivolity, beer, youth, love, gaiety – these are the main themes that have perhaps determined the long-lived popularity of the songs in question. However, the analyzed songs are interrelated not only in terms of their themes; they keep balancing on the borderline between cultural layers. Having emerged from the professional compositions, they are likely to be performed onstage, nicely arranged and perfectly intoned by professionally trained choirs. Yet another time the same song can completely adhere to the requirements of the popular scene, readily adapting to the popular taste by flexibly altering its shape and finally sounding in accordance to the requirements of almost the lowest social strata. Nevertheless, the most intriguing is the possibility of discerning the basic principles of folklore in the history of these songs; these principles are essentially similar to those developed by the oral culture in the ancient communities. Songs keep surviving for lengthy periods; they are repeated and in demand, since their texts seem lucid to the majority of the community members. They reflect the prevailing vision of the surrounding world, although their melodies change while crossing different countries and regions: they are adapted or even recreated, because they keep hitting the local filters that censor the song’s expression; these comprise certain pools of the musical forms, intonations and complex figures. The power of these filters may perhaps account for dissemination of certain forms of the musical expression in some areas and their total absence or strong changes in the others. If we add criteria of variation, collectivity, loss of authorship or its assumed irrelevance, and emphasize the importance that these songs acquire in relation to customs and rituals, we can perhaps complete the list of the main principles of folklore that are observed in these hybrid compositions – student songs.The traces of folklore found in the student songs do not mean, however, that these compositions can be considered folklore. Still, the student songs are shaped, sound and leave the living tradition precisely following the laws of the oral cultural pattern, thus “behave” in correspondence to its norms. So, even if today we are surrounded not only by the written, but also by the media culture, the modern community, if it is indeed a living and a self-renewing one, cannot completely discard the patterns of oral culture as well. The songs are an inherent part of such pattern, accompanying various rituals and customs or simply helping to create a happier kind of the daily life and making it meaningful.
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TISHECHKIN, DMITRI YU. "Clarification of taxonomic status of Pseudochorthippus geminus (Mistshenko, 1951) (Orthoptera: Acrididae: Gomphocerinae) based on male calling song analysis." Zootaxa 5447, no. 1 (2024): 133–39. http://dx.doi.org/10.11646/zootaxa.5447.1.9.
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Pseudochorthippus geminus is redescribed and illustrated based on specimens from southern Kazakhstan and northern Kyrgyzstan. Oscillograms of the male calling songs of P. geminus from these localities and of P. parallelus from southern Kazakhstan are given. Comparative analysis of the song temporal patterns of P. geminus and P. parallelus clearly indicates that they represent separate biological species, but the morphological differences between them are indistinct and do not always provide reliable characters for species diagnostics.
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Plemenitaš, Katja. "Songs as Elements in the Generic Structure of Film Musicals." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (2016): 31–38. http://dx.doi.org/10.4312/elope.13.1.31-38.
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The paper focuses on the description of film musicals as a subgenre of the genre family of musicals. Their dramatic structure is examined in terms of the generic elements that constitute the progression of a story expressed through the combination of spoken dialogue, songs and dance. The function of songs in the generic structure of film musicals is examined in the framework of the systemic-functional theory of register and genre. Special attention is given to the role of songs in the unfolding of the narrative. The theoretical observations about the role of songs in the register and genre of film musicals are then illustrated with an analysis of the use of songs in the TV musical High School Musical 2.
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Khoshsaligheh, Masood, Fatemeh Sarvghadi, and Binazir Mohammad Alizadeh. "Impact of Song Dubbing on Characterization." Journal of Audiovisual Translation 5, no. 1 (2022): 186–206. http://dx.doi.org/10.47476/jat.v5i1.2022.189.
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Interventions in the extent and quality of the portrayal of characters in dubbed musical films can induce a change in the original characterization in the film as characters play the role of singers who reflect their inner emotions and thoughts through diegetic songs. To examine the impact of dubbed diegetic songs on the singer’s characterization, the study contains two main phases, theoretical and empirical. Initially, the development of the notions on characterization in dubbed films is illustrated to justify and present a merged model drawing on Bosseaux (2015) and Reus (2020) from the realm of Translation Studies, and the cinematic standpoints inspired by Dyer (1998). Then, to apply the model, the different dimensions of the merged model, including the visual dimension (synchrony and visual deixis) and the verbal dimension (sense, style, and voice quality) are investigated in a case of private sector, professional Persian dubbing (Khoshsaligheh, 2022). The case study was the Persian dubbed version of the diegetic songs of Frozen (Buck & Lee, 2013). The analysis reveals that the shifts in two dimensions lead to a fairly dissimilar presentation of the singers’ characterization. Lay Summary In musical films, songs by the characters are interwoven into the story. When characters sing, they reveal their inner emotions and thoughts using the song’s message. Any manipulation in dubbing of these songs into other languages can and does result in changes in how the original singers’ characterization is represented for the new audience. To study the impact of the dubbed songs on the singer’s characterization, we reviewed the previous studies and came up with a new way for characterization analysis in dubbed songs by merging and adapting some the models from translation studies and film studies fields. Next, we sued the model to study the Persian dubbed version of the songs of the hit musical animated film, Frozen (2013). The results reveal various changes in the dubbed version in terms of characterization through changing the visual and verbal aspects of the songs in a way that the Persian dubbed version portrays the singers’ characterization considerably dissimilarly.
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Robb, David. "The mobilising of the German 1848 protest song tradition in the context of international twentieth-century folk revivals." Popular Music 35, no. 3 (2016): 338–59. http://dx.doi.org/10.1017/s0261143016000532.
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AbstractThe rediscovery of democratic traditions of folk song in Germany after the Second World War was not just the counter-reaction of singers and academics to the misuse of German folk song by the Nazis. Such a shift to a more ‘progressive’ interpretation and promotion of folk tradition at that time was not distinct to Germany and had already taken place in other parts of the Western world. After firstly examining the relationship between folk song and national ideologies in the nineteenth century, this article will focus on the democratic ideological basis on which the 1848 revolutionary song tradition was reconstructed after the Third Reich. It will look at how the New Social Movements of West Germany and the folk scene of the GDR functioned in providing channels of transmission for this, and how in this process a collective cultural memory was created whereby lost songs – such as those of the 1848 Revolution – could be awakened from extinction. These processes will be illustrated by textual and musical adaptations of key 1848 songs such as ‘Badisches Wiegenlied’ (Baden Lullaby), ‘Das Blutgericht’ (The Blood Court) and ‘Trotz alledem’ (For all that) within the context of the West German folk movement and its counterpart in the GDR.
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Ambrazevičius, Rytis. "Migration of Song Genres: Two Typical Lithuanian Cases." European Journal of Musicology 20, no. 1 (2022): 105–32. http://dx.doi.org/10.5450/ejm.20.1.2021.105.
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Song genres are reconsidered and migrate similarly, in general terms of adaptation to new contexts, and differently depending on the certain actor milieus. In the present paper, these processes are illustrated applied to two examples of changing Lithuanian tradition. First, the song repertoire of Mištūnai village (southeastern Lithuania) is analysed and the vernacular emic attribution of the songs to genres is collated with their attribution to the scientifically defined “actual” genres. Thus, genres that change their assignment or lose their strict application and dissipate, in contrast with the relatively “stubborn” genres, are indicated. Musical and extramusical causes for such migrations/stability are discussed. Second, the song repertoires of the modern reconstructed Rasos (Midsummer) celebration, popular, first of all, amongst contemporary urban folk groups are discussed. These repertoires collect very different genres that were not used for this occasion in the past. They show significantly more courageous migrations, compared to the case of unbroken tradition in Mištūnai. Characteristic phenomena in the migrations that have resulted in the composing of a sort of “Rasos metagenre” are discussed. In order to offer an insight into the basics of Lithuanian songlore relevant for the subsequent discussion, the paper begins with a broad introduction of the general characteristics of Lithuanian traditional songs and their genres.
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EWART, A. "Two new genera and five new species of Mugadina-like small grass cicadas (Hemiptera: Cicadidae: Cicadettini) from Central and Eastern Australia: comparative morphology, songs, behaviour and distributions." Zootaxa 4413, no. 1 (2018): 1. http://dx.doi.org/10.11646/zootaxa.4413.1.1.
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Moulds (2012) established the genus Mugadina for two small cicadas, M. marshalli (Distant) and M. emma (Goding and Froggatt), both grass inhabiting species known from Queensland and New South Wales. Both species are notable for their relatively simple 'ticking' songs. Moulds further noted that there were at least two superficially similar genera of cicadas, but each with different genitalia. This paper describes two new genera of small (9–15 mm body lengths) and distinctive grass cicadas with genitalia that are very similar to those of Mugadina, but possess clear morphological, colour and calling song differences. The new genera are: Heremusina n. gen. with two known species namely H. udeoecetes n. sp. and H. pipatio n. sp.; the second new genus is Xeropsalta n. gen., containing four known species, X. thomsoni n. sp., X. aridula n. sp., X. rattrayi n. sp., and X. festiva n. comb. Heremusina n. gen. species are described from the Alice Springs area of Northern Territory and the Cloncurry area of northwest Queensland, from arid to semi arid habitats. The Xeropsalta n. gen. species are described from western, southwest and central Queensland, and from the Simpson and Strzelecki Deserts in northeastern South Australia and northwestern New South Wales, respectively, all locations in very arid to arid habitats, but close to seasonal (often irregular) rivers and lakes. X. festiva n. comb. occurs in semi arid habitats in southern and southeastern Australia. Detailed taxonomic descriptions are provided of the new species, together with distributions, habitats, and the calling songs. The Heremusina species emit songs with short repetitive buzzing echemes, the echeme durations differing between each species. The Xeropsalta songs are notable for their complexity, containing multiple elements with rapid changes of amplitudes and temporal structures, rather atypical of the songs of most small grass dwelling cicadas. Detailed song structures distinguishing each of the species are illustrated and interpreted in each case in light of their respective taxonomic status.
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Morton, Eugene S. "Predictions From the Ranging Hypothesis for the Evolution of Long Distance Signals in Birds." Behaviour 99, no. 1-2 (1986): 65–86. http://dx.doi.org/10.1163/156853986x00414.
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AbstractThe Ranging Hypothesis (RH) (MORTON, 1982) proposed a form of distance assessment (ranging) based upon perception of signal degradation using memorized signals as a yardstick to distance. The predictions of the RH include distance assessment mechanisms, DAMs; it is proposed that these have opened a new evolutionary process illustrated by the complicated songs and singing behaviour in the oscine passerines ("songbirds"). The RH identifies sources of selection favouring learning, multiple or single song types, song structural complexity not accounted for by species isolating mechanism ideas, and emphasizes the ecological basis for the evolution of long distance communication. New importance is given to the acoustic physical structure of songs. The RH encompasses and contrasts song evolution in warm climate regions with those in cold temperate climates. Three interrelated stages of long distance signal evolution are presented: detectability, threat, and disrupt. A singer/listener role dichotomy in selective pressures is described and the results discussed. Listeners developed distance assessment mechanisms (DAMs) resulting in an evolutionary arms race between listeners and singers. Singers developed methods to use DAMs to their best interest (threat and disrupt). Song learning in passerines developed in response to this arms race to enhance disruption, a situation most prevalent in cold temperate zone regions. The acoustic determinants of effective song distance are described and discussed in relation to the evolution of signal structures. Finally, the RH is discussed in relation to some previous hypotheses on song function and evolution.
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Darussalam, Najwa Leonita, and Joko Wiyoso. "Creating Process of Composition Of The “Kulino” Musical Drama At Theater Aura Indonesia." Jurnal Seni Musik 10, no. 2 (2021): 150–59. http://dx.doi.org/10.15294/jsm.v10i2.45925.
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Music for the Aura Theater is not only a supporter of the presentation of the show, but also as a medium for conveying the core story in a performance that is packaged in the form of songs and becomes part of the storyline. This makes researchers interested in the process of creating songs in their musical dramas. This study aims to identify and describe the process of creating compositions for musical drama songs in Kulino scripts at the Aura Indonesia Theater performance. This study uses a qualitative descriptive method that produces descriptive data. The research location is in the center of theatrical activities of Theater Aura Indonesia with data sources from the chairman as well as the director of Kulino performances and composers. Data were collected by using observation, interview, and documentation techniques. The data analysis technique used in this study is an interactive model whose elements include data reduction, data presentation, and conclusions. The results showed that in the process of creating the composition of the Kulino musical drama song through stages (1) script review, namely the activities of appreciating, reviewing, discussing, or reviewing all the elements contained in the script to be worked on (2) observation, namely the stages carried out by the composer. to get musical inspiration which is then illustrated in the form of rough notes (3) pouring, namely pouring rough notes from observations into the form of musical compositions (4) embodiment, namely redeveloping the finished song by adding other musical instruments, namely keyboard, guitar melody, violin, cello, drum, bass, flute, and saxophone (5) presentation, in which the composer presents the finished song to the director and assistant director.
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CIPLAK, BATTAL, KLAUS-GERHARD HELLER, and FER WILLEMSE. "Review of the genus Eupholidoptera (Orthoptera, Tettigoniidae): different genitalia, uniform song." Zootaxa 2156, no. 1 (2009): 1–75. http://dx.doi.org/10.11646/zootaxa.2156.1.1.
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The bush cricket genus Eupholidoptera, distributed across the northern Mediterranean Basin from Southern France to Israel, is reviewed. An illustrated key for males is presented. Two new species are described: Eupholidoptera helina Çiplak sp. n. and Eupholidoptera kykladica Heller & Fer Willemse & Luc Willemse sp. n.. Four species are synonymised: Eupholidoptera raggei Salman with Eupholidoptera marashensis Salman, Eupholidoptera karatolosi Mofidi-Neyestanak & Quicke and Eupholidoptera kinzelbachi Harz with Eupholidoptera megastyla (Ramme) and Eupholidoptera mirzayani Mofidi-Neyestanak & Quicke is synonymised with Apholidoptera kurda (Uvarov). Based on the male genitalia two large species groups can be distinguished within Eupholidoptera: the Eupholidoptera chabrieri group with 20 species and the Eupholidoptera prasina group with 26 species. Data relating to the male calling song of 25 species are presented. Contrary to other genera of Pholidopterini male calling songs in Eupholidoptera are relatively invariable and consist of series of isolated syllables. Since morphology is variable and the calling songs are rather invariable, radiation within the genus is the result of divergence in genitalia.
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Moran, Perrine. "“I’ve got you under my skin”: borderline states in couple relationships." Musical Connections in Couple and Family Psychoanalysis 10, no. 1 (2020): 59–71. http://dx.doi.org/10.33212/cfp.v10n1.2020.59.
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Many couples who come for therapy are struggling with separating from unconscious phantasies and beliefs that enmesh each partner with the other, resulting in states that popular songs powerfully epitomise. While this borderline experience is common and functional in the early stages of being in love its persistence paralyses the development of the relationship. Facing separation from and loss of illusion is a challenge couple therapists are often asked to help with. The argument is illustrated by a case, and by references to some of Cole Porter’s best known songs.
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Krawetz, Alexandra. "Sell a Song of Safety: Children, Radio, and the Safety Patrol." Journal of the Society for American Music 16, no. 3 (2022): 298–318. http://dx.doi.org/10.1017/s1752196322000165.
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AbstractAmid nationwide discussion on the importance of accident prevention and safety education, Tin Pan Alley songwriters Irving Caesar and Gerald Marks wrote and advertised Sing a Song of Safety (1937), a book of songs that taught children domestic, playtime, and traffic safety lessons, illustrated by Rose O'Neill. Caesar secured a recurring guest segment to perform the songs on the variety program The Royal Gelatin Hour in 1938. Focusing on Caesar's segments, this article examines the role of children's music on the radio in the 1930s. Placing these songs in their historical context, I show how they both portray and challenge citizenship and community roles with regard to age, gender, and race. After unpacking the context of The Royal Gelatin Hour and the relationship between protection and innocence in safety education, I describe the portrayal of parenting in the segments. Taking one of Caesar's segments as a case study, I examine boyhood and race in the program's adaption of the safety patrol. By investigating the role of children and the construction of childhood in these initiatives, this paper addresses the relationship between children and media and early uses of media as a surrogate for parenting. It examines the use of popular culture in public safety efforts, the synergy of and tensions between service and profit, and the use of music to convey societal duties in everyday life as they shift throughout the life course.
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Tomaszewski, Feliks. "Contrary Triptych with Ideological Songs." Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova 8 (November 1, 2023): 343–61. http://dx.doi.org/10.17951/en.2023.8.343-361.
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On January 27, 1898, the 17th issue of “Collier’s Weekly” published the Prologue to the famous novel by Henry James The Turn of the Screw. This novel about a difficult relationship between a young governess and two orphaned children (Flora and Miles) convinces the reader that Demons really exist and Evil embodies various characters. At times it takes the form of a benefactor. The paper is an attempt to reconstruct three mechanisms of ideology which after WWII modified collective awareness. These three mechanisms, as three vices, stabilized and enabled to rebuild the insight of the immature individuals. The first one – the ideological vice of the press – initiated every day and often banal press releases; the second one – ideological educational vise – evolved from the school curricula, especially of the Polish language; the third one – the ideological reading vice – was the most hidden and treacherous, oppressed in the context of extracurricular reading. The influence of the first of them is illustrated by the analysis of exemplary press releases on a summer camp of 1947, the second one talks about the curriculum of the Polish language teaching process in 1949 in the 11-grade high school, and the ideological influences are discussed in the comments about the message of Marian Brandys’s Wyprawy do Arteku (1953).
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S, Sureshkumar. "Semantic Theory in Ainkurunuru." International Research Journal of Tamil 4, S-19 (2023): 677–80. http://dx.doi.org/10.34256/irjt224s19101.
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The Tamil language can be said to be the oldest of the world's languages. Tamil literature deals with various aspects of life. They contain a variety of literature, grammar, stories, essays, poems, proverbs, etc. Moreover, the Sangam literature depicts everyday life. From the Sangam age to the present period, a variety of writers and books have appeared. The Sangam literature consists of a large number of sections viz., Ettutthokai, Patthuppaattu, and Pathinen Kilkanakku books. Though there is Akam and Puram in the Ettutthokai of Sangam literature, in the third of Ainkurunooru ten songs to each of five thinais, that is five hundred songs are found. All of these songs were sung by different poets at different times and in different contexts. Though all the Pulavars are Tamils, they all belong to different periods. The Tamil language can vary from time to time. Therefore, the vocabulary of each scholar can vary. It was the Ettutthokai that beautifully illustrated the conditions of life of the people of the Sangam age and compiled them as well as illustrated them clearly. Moreover, the Ettutthokai volume of books has shown the true feelings of the people of the Sangam age such as valour, love, justice, benevolence, humanity, pride, and warmth. In Sangam literature, the imaginary lines about love are classified as Akam and the fields of life such as heroism, love, charity, etc., are classified as Puram.
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Gray, David A., Scherezade Hormozi, Fritz R. Libby, and Randy W. Cohen. "Induced expression of a vestigial sexual signal." Biology Letters 14, no. 5 (2018): 20180095. http://dx.doi.org/10.1098/rsbl.2018.0095.
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Vestigial morphological traits are common and well known in a variety of taxa. Identification of vestigial genes has illustrated the potential for evolutionary reversals and the re-expression of atavistic traits. Here we induce expression of a behavioural sexual signal, male calling song, in a cricket species, Gryllus ovisopis, which lacks a functional calling song. We successfully used acetylcholine injections in the frontal space of the head of male crickets to activate cerebral command neurons for cricket calling, and we recorded calling songs with a temporal chirp pattern similar to that of G. ovisopis ' close evolutionary relatives, G. firmus and G. pennsylvanicus , implying that the neural pattern generators that underlie cricket calling behaviour persist in a vestigial state in G. ovisopis . To our knowledge, this is the first demonstration of the induced expression of a vestigial behaviour in any organism. The retention of latent neural capacity to express sexual behaviours could have important implications for rapid evolution, trait re-emergence and reproductive isolation.
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MA, LIBIN, and GE MA. "The second species of the genus Gorochovius Xie, Zheng & Li, 2004 (Orthoptera: Phalangopsidae: Phaloriinae) discovered from China." Zootaxa 4671, no. 2 (2019): 259–66. http://dx.doi.org/10.11646/zootaxa.4671.2.6.
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Gorochovius furvus sp. n. is the second known species of the genus Gorochovius Xie, Zheng & Li, 2004. The new one is very similar to G. trinervus. But it is distributed farther south than the that species. They can be identified by morphological and acoustical characters. Here, the new species was described, and all species are illustrated and their calling songs analyzed.
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Воропаева, Валентина A. "Певец кыргызского комуза". Studia Orientalne 6, № 2 (2014): 241–54. http://dx.doi.org/10.15804/so2014214.
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The author presents the figure of Aleksander Zatajewicz (1869–1936), famous Russian/Soviet ethnographer and composer. Zatajewicz was of Polish descent, in years 1904–1915 he worked in Warsaw. He became a part of history of Kazakhstan and Kyrgyzstan, as he was the first to take on the challenge to collect the Kazakh and Kyrgyz melodies and folk songs and to write them down in notation. Zatajewicz zeal in this difficult task can be best illustrated by numbers. In 16 years (1920–1936) he has collected and written down 2 600 melodies and folk songs from Central Asia, Altai and Siberia, and affixed them with his own commentaries. His work is recognized and respected in Kazakhstan and Kyrgyzstan even today
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Cooper, B. Lee. "Promoting Social Change Through Audio Repetition1." Journal of Popular Music Studies 30, no. 3 (2018): 45–56. http://dx.doi.org/10.1525/jpms.2018.200015.
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The development of contemporary American music is clearly reflected in the integration of black composers, performers, and their songs into mainstream popular record charts. Between 1953 and 1978 a fascinating role reversal occurred. During that quarter century black artists shifted from creators to revivalists. The same role reversal did not apply to white artists, who tended to evolve along a more consistent audience-acceptance continuum. How can this 25-year cycle of social change best be illustrated? What particular elements of black music dramatically entered the pop spectrum during the fifties, and later gained dominance by the end of the sixties? Why did black artists become more and more conservative during the late seventies? A careful examination of audio repetition – cover recordings and song revivals – offers a great deal of revealing information about changes in social, economic and artistic life in America after 1953.
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Pfleiderer, Martin. "Soul rebels and dubby conquerors. Reggae and dancehall music in Germany in the 1990s and early 2000s." Popular Music 37, no. 1 (2017): 81–99. http://dx.doi.org/10.1017/s0261143017000587.
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AbstractIn the 1990s, a vibrant reggae and dancehall scene emerged in several German cities, and in the early 2000s songs of reggae artists such as Gentleman, Seeed or Jan Delay rose to the top of the German pop charts. In this article, the German reggae scene of this time is depicted in respect to its formation, infrastructure, transnational relationships and sub-genres, and is related to general social and cultural developments in reunited Germany, e.g. a new national self-consciousness, tendencies towards a multi-ethnic society and new kinds of youth scenes. These findings are illustrated by a close reading of two songs from the seminal albumsSearching for the Jan Soul Rebelsby Jan Delay andNew Dubby Conquerorsby Seeed, both released in 2001. While Jan Delay's lyrics reflect the singer's commitment to the antifascist youth scene, Seeed celebrates a hedonistic lifestyle in the new capital Berlin.
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V, Kavitha. "The Agam People as shown in Kurunththokai." International Research Journal of Tamil 4, S-13 (2022): 268–73. http://dx.doi.org/10.34256/irjt224s1339.
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The Sangam literature, which is rich in literature and is ancient, is imaginative and has a linguistic personality. In the Sangam literature, the short songs which received the epithet "Good" are rich in concept and imagination. In this article, the life of the Agam men of the Sangam age referred to in these verses has been explained in this article from an aesthetic point of view. The feeling of love is essential to Agam’s life, and the way in which this feeling manifests itself in both the man and the woman is enjoyable. The man and woman's love for each other, their ability to express it, and their separation are all expressed in conjunction with nature. A number of short poems that reveal the lives of the people of the Sangam age who lived in harmony with nature through their statements are illustrated, and the concept and scenes in those songs are explained.
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Sarama, Julie, and Douglas H. Clements. "Building Blocks for Young Children's Mathematical Development." Journal of Educational Computing Research 27, no. 1 (2002): 93–110. http://dx.doi.org/10.2190/f85e-qqxb-uax4-bmbj.
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This article describes the design principles behind a set of research-based software microworlds included in the Building Blocks program, a PreK to grade 2 software-based mathematics curriculum. Building Blocks approach is finding the mathematics in, and developing mathematics from, children's activity. The materials are designed to help children extend and mathematize their everyday activities, from building blocks to art to songs and stories to puzzles. The 9-step design process model that defines what we mean by “research-based” is described and illustrated.
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Chen-Hafteck, Lily. "Pitch abilities in music and language of Cantonese-speaking children." International Journal of Music Education os-31, no. 1 (1998): 14–24. http://dx.doi.org/10.1177/025576149803100102.
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The relationship between musical and linguistic pitch abilities in young children was explored. Developmental research demonstrated that abilities in pitch perception and production in early music and language development are closely integrated. Cross-cultural evidence also illustrated the influence of language characteristics on music, children's songs and spontaneous singing. A close examination into the singing ability of the Cantonese-speaking children in Hong Kong showed that pitch abilities in language can possibly enhance pitch accuracy in singing. It was therefore suggested that musical and linguistic abilities should be encouraged in close connection during early childhood.
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Bobunova, Maria A. "“Shchyogol” and “Shchap” in Russian Folklore." Russkaia rech, no. 2 (2023): 83–93. http://dx.doi.org/10.31857/s013161170025486-3.
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The article describes denominations denoting dandies in Russian folklore. The research is based on texts of Onega epics, historical songs and non-ritual lyrics recorded in different regions of Russia in the 19th century. We complied and analyzed lists of words denominating dandies and fashionistas in different folklore genres based on the lexicographic materials. The article demonstrates that the corpus of the lyrical songs in comparison with the other sources contains the greatest variety of lexemes under analysis, in which the noun shchyogol takes the central place. This word is the head of the expanded word-formation socket, comprising dialectal and specific folklore words. It is illustrated that in the Onega epics a fashionably dressed person is often called Shchap, and dandyism is characteristic of two epic heroes – Churila and Dyuk, who compete with each other. A similar plot connection is typical of historical songs, where lexemes denominating a fashionable person are found exclusively in the 17th century texts about Stenka Razin’s son. The article notes the usage features of the analyzed type of words and identifies the most frequent constructions. The author concludes about the existence of the general genre, intergenre and specific genre features in the usage of vocabulary that names and characterizes dandies in oral folklore art, and outlines prospects for further research.
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RATTI, MANAV. "The Icon and the Text: American Book History and the Construction of the World's Largest-Grossing Illustrated Book, Madonna's Sex (1992)." Journal of American Studies 54, no. 1 (2018): 184–211. http://dx.doi.org/10.1017/s0021875818001391.
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Madonna's book Sex (1992) is the world's largest-grossing illustrated book, selling 1.4 million copies worldwide and earning US$70 million in sales at retail. This essay is the first to use methods from the discipline of bibliography to analyze the book's production, distribution, and reception. This article extends scholarship on Madonna, including about her iconicity and visuality, from her songs and videos to her print culture. I demonstrate how Sex – both as a printed book and as an expression of national culture – is part of a dynamic American book history that constructs notions of America, including freedom of speech, thought, and religion.
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Jones, Alexandra E., Carel ten Cate, and Catrien C. J. H. Bijleveld. "The interobserver reliability of scoring sonagrams by eye: a study on methods, illustrated on zebra finch songs." Animal Behaviour 62, no. 4 (2001): 791–801. http://dx.doi.org/10.1006/anbe.2001.1810.
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Chilisa, Bagele, Thenjiwe Emily Major, and Kelne Khudu-Petersen. "Community engagement with a postcolonial, African-based relational paradigm." Qualitative Research 17, no. 3 (2017): 326–39. http://dx.doi.org/10.1177/1468794117696176.
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The article engages with debates on democratizing and decolonizing research to promote multi-epistemological research partnerships that revolutionize the research methods landscape, bringing new paradigms onto the map to advance new research methods that engage and transform communities. The argument in the article is that people of all worlds irrespective of geographic location, colour, race, ability, gender or socio-economic status should have equal rights in the research scholarship and research process to name their world views, apply them to define themselves and be heard. An African-based relational paradigm that informs a postcolonial research methodological framework within which indigenous and non–indigenous researchers can fit their research is presented. The article further illustrates how an African relational ontological assumption can inform a complimentary technique of gathering biographical data on the participants and how African relational epistemologies can inform partnership of knowledge systems. The use of proverbs and songs as indigenous literature and community voices that researchers can use to deconstruct stereotypes and deficit theorizing and community-constructed ideologies of dominance is illustrated.
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Gudin, Filipe Macedo, Lucas Denadai de Campos, Darlan Rutz Redü, and Francisco de Assis Ganeo de Mello. "Parasitoid flies (Diptera, Tachinidae) in true crickets (Orthoptera, Grylloidea): New host records from Brazil, identification key to parasitoids, and revision of host-parasitoid interactions." Journal of Orthoptera Research 33, no. 1 (2024): 41–58. http://dx.doi.org/10.3897/jor.33.108456.
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True crickets (Orthoptera, Grylloidea) are often parasitized by tachinid flies (Diptera, Tachinidae). However, the diversity of these parasitoids and their oviposition strategies remain unclear. Although some flies are specialized in locating crickets by their calling songs, such as the phonotactic fly Ormia ochracea (Bigot, 1889), a large portion of the tachinids that attack true crickets show different host search strategies and are adapted to parasitize other orthopteroid insects as well. However, these parasitoids have a complex and challenging taxonomy that precludes further improvement in the understanding of Tachinidae-Orthoptera interactions. Here, we described and illustrated seven new host records in Gryllidae and Phalangopsidae species from Brazil, including notes on the diagnostic characters of each parasitoid and host. An illustrated identification key to Tachinidae genera recorded in Grylloidea is also provided. Finally, all published records of Tachinidae parasitism in true crickets were revised and are presented in an annotated catalog in order to understand the host range and different oviposition strategies of each parasitoid lineage.
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Bottomore, Stephen. "Silent cinema in song, 1896-1929: an illustrated history and catalog of songs inspired by the movies and stars, with a list of recordings." Early Popular Visual Culture 10, no. 1 (2012): 97–98. http://dx.doi.org/10.1080/17460654.2012.646759.
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Domanskii, Yurii V. "THE OXYMORICITY OF СYCLIZATION IN SONG PERFORMANCES PRESENTED ON THE MODERN THEATER STAGE". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, № 3 (2021): 148–58. http://dx.doi.org/10.28995/2686-7249-2021-3-148-158.
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The article considers some of the song performances presented as a part of two theatrical productions on Moscow stage: Moscow’s Ermolova Theater musical performance of Dream Orchestra. Brass and stage production Boris hosted by Museum of Moscow. As it is illustrated, some of the songs in each of the stage productions are combined in a way that forms a sort of cycles. However, it is a kind of cyclization which is essentially characterized by oxymoronic nature. Namely the elements of the cyclization find themselves in confrontation with each other. Meanwhile, the paradox is that the oxymoricity highly intensifies the cyclization, for it takes part in creating a complete unity and it even works as a necessary conjunction for the cycle forming. As to meaning forming, the characteristic of artistic creation such as the oxymoricity of cyclization may work as a bright and effective way of representation on stage the versatility of human perception of reality, the complexity of human nature in its actual manifestations; also, it may help to aesthetically comprehend the difficult time, the time of transition, the time that generates abnormal life phenomena, and the time produced by the aberrant phenomena
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Nur Hasisa, Siti, and Muhammad Suryadi. "Laesan Traditional Arts: The Relationship of Natural Life with Human Behavior (Case Study in Lasem District, Rembang Regency)." E3S Web of Conferences 359 (2022): 02035. http://dx.doi.org/10.1051/e3sconf/202235902035.
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Abstract. This study proposes to reveal the relationship between natural life and human behavior reflected in laesan. It used a qualitative descriptive approach with an ethnographic study of communication. The result achieved is that in Laesan art, humans and nature are both creatures created by God, so the relationship between the two is called a horizontal relationship. In addition to making good use of what is available in nature, humans are also required to preserve nature. Such a relationship is illustrated and expressed in the stages of the Laesan game and the use of natural materials as one of the components of the instrument in the Laesan performing arts. Laesan is a performing art in the form of a dance accompanied by beats and songs typical of Laesan. The songs sung in laesan contain good advice for humans, one of which is to regulate human life with nature. The musical instruments (tetabuhan) used are traditional musical instruments in the form of jun and roof which represent Javanese cultural values. This is a form of local wisdom that marks a good relationship between humans and nature.
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Huang, Yi-Wen. "Tracing a selfie." Pedagogical Linguistics 2, no. 1 (2021): 92–106. http://dx.doi.org/10.1075/pl.21002.hua.
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Abstract This teaching report focuses on effectiveness of teaching pedagogies of the word formation process to Navajo students at a two-year college in the American Southwest. The activities used to teach the concepts of word formation are illustrated/described. The purpose of using authentic examples including songs from popular culture is to make students aware that these linguistic concepts are related to their everyday lives and in the hope that they can utilize these concepts and integrate real-life examples in their future teaching career. A feedback form was administered to collect the students’ views toward the pedagogies including activities in an introductory Linguistics class.
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Gavrikov, V. A. "Visualization in Song and Poetry Culture." Art & Culture Studies, no. 4 (December 2023): 604–27. http://dx.doi.org/10.51678/2226-0072-2023-4-604-627.
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On the one hand, the article is of an overview nature. It deals with modern ideas of Russian and foreign science on the role of visuality in modern culture. The popular thesis that modern culture is primarily visual is questioned. The visual component is shown to have already played a significant role in relict pre-literature forms. Many branches of knowledge, such as the philological profile, still study the intermedial arts without taking into account their complex nature. The article presents the history of the study of this problem in the context of research on author’s songs and rock culture. On the other hand, the article has got a practical part, where the theses stated are illustrated with specific material. According to the author’s hypothesis, the bards have devised various strategies for developing visual space over the decades of the existence of this phenomenon. The work with visual content within a music video is illustrated on the materials of two takes of the song “Morning Gymnastics” by Vladimir Vysotsky (the videos were made by the Hungarian Television in 1974). The poet employs two “types” of sign and scenographic visualization, i.e. the ones with theatrical and sports connotations. The strategy of developing the visuality in rock poetry is presented by the example of the concert by Alexander Bashlachev taken place at Boris Grebenshchikov’s* in 1986. Due to the poet’s performance without accompanists, the emphasis is made on gestures, primarily on the eye ones, appealing to the top of the ontological vertical. The deep and diverse connections to the Bashlachev’s poetic text are shown. * Recognized by the Ministry of Justice of the Russian Federation as a foreign agent
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Prilosadoso, Basnendar Herry, Waluyo, and Roman Aqviriyoso. "KOLABORASI ILUSTRASI DAN TEMBANG DOLANAN DALAM PENCIPTAAN MEDIA EDUKASI COVID-19 DI SURAKARTA." PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 3 (February 18, 2021): 90–104. http://dx.doi.org/10.33153/semhas.v3i0.140.
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The Covid-19 outbreak has attacked the community, where the Indonesian Government has handled the pandemic outbreak from health, social, politicaDolanan Song, Illustration, Covid-19, Education, Elementary School Students.l, economic and other related aspects. Various educational media, information, and publications regarding the prevention and spread of this virus have also been carried out in multiple ways and with multiple media. Dissemination of information about the Corona outbreak is needed by all groups, from all age groups, economic status, gender, demographics and other aspects. Likewise, for elementary students, at that age, the information can be used as a guide later, both now and future. An appropriate media for segmentation is needed so that the information presented is acceptable and attractive. Alternative media for illustrated collaboration with tembang dolanan contain moral teachings and conveying media that can apply Dolanan Song, Illustration, Covid-19, Education, Elementary School Students.in preserving mother tongue and character education. The purpose of creating art is children's illustration work and dolanan songs containing interesting material and publication media regarding the prevention and spread of the Covid-19 virus to elementary school students. The method of creating artwork has 6 (six) stages, namely: Discovery, Interpretation, Ideation, Experimentation, Evolution, and Implementation. Through this media, it hoped that it could increase understanding and knowledge, especially elementary school students, in preventing and overcoming the Covid-19 outbreak so that the attack can soon subside.
 Keywords: tembang dolanan, illustration, Covid-19, education, elementary school students.
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N, Kavitha. "Cultural Records Shows Ainthinai Aimpathu." International Research Journal of Tamil 4, S-6 (2022): 38–43. http://dx.doi.org/10.34256/irjt22s66.
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Literature best describes the culture of the people. The study aims to identify the cultures found in the inthinai. The characteristic of remembering that the time has come when the leader (thalaivan) who goes in search of the object is the one who returns is beautifully situated. It explores the leader's (thalaivi) temperament and the leader's (thalaivi) sense of disability. This article reveals that the nature of the leader to keep her secret from being revealed is that the world is perpetuated only by virtuous people, and that both husband and wife are left to fend for themselves. It makes us realize the need for loving virtue in marriage. The parable traditions used in the songs are beautifully illustrated. The study sets out to examine the so-called belief-based planting rituals.
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Nazarevych, L. T., N. R. Denysiuk, and N. I. Нavdyda. "COUNTRY STUDY TEXTS IN THE CLASSES OF THE UKRAINIAN LANGUAGE AS A FOREIGN LANGUAGE: THEORY AND PRACTICE." Opera in linguistica ukrainiana, no. 28 (September 28, 2021): 238–48. http://dx.doi.org/10.18524/2414-0627.2021.28.235547.
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Abstract. The article is dedicated to a topical issue: the study of the Ukrainian language in a foreign language environment based on local lore texts about Christmas and Easter; the focus is made on the role of songs and colloquialisms that help students adapt to the country of residence and its realities. Approaches to work with New Year's songs ("Shchedryk") and lyrical songs ("Hutsulka Ksenia") are demonstrated. A number of methodical developments on e-platforms are proposed: open4ukrainian.education/gutsulka-ksenya/; http://bit.ly/rizdvyani-pisni-kolyadki, the advantages of working with online tools are proved: Wizer.me (https://wizer.me/), Learningapps (https://learningapps.org). The objective of the article is to analyze the country study material; to draw the attention of the scientific and pedagogical community to the need of selecting texts and didactic materials with consideration of the feasibility and practical application of information and the development of communicative competence; to prove the relevance of a variety of tasks and examples; to share the experience of teaching foreigners the Ukrainian language. The ideas presented in the article are illustrated by examples taken from the experience of teaching Ukrainian as a foreign language at Ternopil Ivan Puluj National Technical University. Current studies and publications are thoroughly analyzed. The focus is on hermeneutic, communicative, personaloriented, cultural, level methods, the importance of visualization of pre-text and post-text exercises, various questions, descriptive interpretation of rare vocabulary, extended vocabulary. The methodological basis of this study is the work of Anna Shvets. During the discussion of texts about traditions, holidays, events, etc., focuses were made on the appropriateness of asking questions, as questions help not only assess students and find out how well they understand the material, but also help them develop their speech. In addition, the role of post-text comments is traced. The aspect analyzed and described in the article is the content of texts that promote Ukraine in the world, contribute to the formation of linguistic knowledge about Ukraine, help foreign students adapt to the language environment.
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Tholoniat, Yann. ""Pippa Passes"… Generic Distinctions." Baltic Journal of English Language, Literature and Culture 6 (May 11, 2016): 157–67. http://dx.doi.org/10.22364/bjellc.06.2016.10.
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Robert Browning’s Pippa Passes, published in 1841, is a key work in his general oeuvre, but it is frequently overlooked by critics intent on analysing the anthologised poems of the following collections. The aim of this article is to reassert the importance of the poem by reassessing what is one of Browning’s most daring experiments with genres. First, the polyphonic quality of Pippa Passes resides in the polymorphic aspect of its elusive generic identity and its ever-recomposing structure. The poem rests on echoes and reversals of perspective which tie it together. Moreover, the dramatization of the characters’ voices is illustrated by a wide array of modalities. Finally, the central character Pippa sings songs which trigger an existential crisis for those who hear them. This identity crisis manifests itself by a crisis of speech, which, in the process, paves the way for irony and parody.
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Goodale, Eben, and Jeffrey Podos. "Persistence of song types in Darwin's finches, Geospiza fortis , over four decades." Biology Letters 6, no. 5 (2010): 589–92. http://dx.doi.org/10.1098/rsbl.2010.0165.
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Learned bird songs evolve via cultural evolution, with song patterns transmitted across generations by imitative learning. In Darwin's finches of the Galápagos Islands, males learn songs from their fathers, and song types can be maintained across multiple generations. However, little is known about the time frame over which specific song types are preserved, in the face of copy errors and corresponding modifications to song structure. Here we investigate cultural evolution in songs of male Geospiza fortis , at Academy Bay, Santa Cruz Island, comparing songs recorded in 1961 by R. Bowman (20 individuals) to those recorded in 1999 by J. Podos (16 individuals). For each individual, we characterized four timing and six frequency parameters, and assessed inter-individual variation in song structure using multivariate analysis. Several 1961 song types persisted into 1999, some with remarkable fidelity. Variation among song types was extensive during both years, and we detected no changes in 10 vocal parameters across the sampling period. These results illustrate temporal continuity in a culturally acquired trait, and raise questions about mechanisms that promote stability in song structure.
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Sudiana, I. Ketut, N. Adiputra, and Putu Budi Adnyana. "Development of Health Integrative Thematic Textbooks (Batik) To Provide Health Education in Elementary Schools." JPI (Jurnal Pendidikan Indonesia) 8, no. 2 (2020): 256. http://dx.doi.org/10.23887/jpi-undiksha.v8i2.24103.
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This research aims to develop health integrative thematic textbooks (BATIK). The method used is the Research and Development model of Borg & Gall. Based on the research, it obtained that integrated health education material in accordance with the PHBS indicator of school. Integration using two patterns, explicitly through the subtitle "Ayo Lakukan Hidup Bersih dan Sehat", and implicitly integrated into the text, the use of children's songs and illustrated images that contain of health education. The BATIK assessment at the validation and readability stage obtained the following results: (1) validation by experts obtained very good, (2) validation by elementary school teachers obtained very good, (3) a one to one evaluation readability test obtained good, and (4) a small group evaluation readability test obtained very good. Based on the results of the validation and readability test, it shows that the quality of BATIK is good so it is suitable to be used in thematic learning in elementary schools.
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Kniaź-Hunek, Lidia. "The (R)evolution of Music Video in American Music Industry." New Horizons in English Studies 8 (December 23, 2023): 163–76. http://dx.doi.org/10.17951/nh.2023.8.163-176.
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The essay offers a concise historical examination of the evolution of music videos and places this medium within the broader context of the popular music industry, which is influenced by the principles of late capitalism. The study highlights the significance of music videos in the popular music industry and media studies, underscoring their role as both promotional and artistic products. It traces the medium's development, from its early days as "illustrated songs" in the late 19th century to the MTV era's explosion, marked by groundbreaking music video directors and the digital turn in the 21st century, which has reshaped the landscape of music video production, distribution, and reception. The article also addresses emerging trends, such as visual albums and changes in video length and format, reflecting shifts in music consumption and technology. In conclusion, it asserts that music videos continue to evolve, challenging conventions and fostering a multisensory, intermedial relationship with audiences.
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Mahrus, Mahrus. "Developing Cognitive Skills in Number Recognition Through Picture Number Card Media in Early Childhood." GENIUS Indonesian Journal of Early Childhood Education 4, no. 2 (2023): 163–76. http://dx.doi.org/10.35719/gns.v4i2.136.
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Cognitive abilities are the brain-based skills required to perform any task from the simplest to the most complex. Children's ability to recognize numbers requires thinking about objects, objects, or events. The aims of this study were: 1) To find out the teacher's planning in developing cognitive abilities in introducing numbers using picture number cards to student A at PAUD Permata Jember. 2) To find out the form of teacher implementation in developing cognitive abilities in introducing numbers with illustrated number cards media to group A students at PAUD Permata Jember. 3) To determine the teacher's evaluation in developing cognitive abilities in introducing numbers with illustrated number card media to group A students at PAUD Permata Jember. This research uses a qualitative approach with the type of case study research. This research used observation, interviews, and documentation as data collection techniques. Data analysis uses data condensation, data presentation, and data verification. In comparison, the validity of the data is used in triangulation techniques and data sources. Based on the study's results, 1) planning: Formation of themes, preparation of lesson plans, preparation of learning media, choice of teaching methods and materials to be implemented, and provision of information to students before learning activities. 2) Forms of implementation: opening activities, namely greetings, praying, and asking how students are doing; Second is the core activity, namely seating management, singing songs about number recognition, distributing illustrated number card media to students, implementing number recognition, students individually take turns demonstrating on the blackboard. Then, the third is the closing activity, namely, the teacher instructs (recalling) the repetition of today's learning activities, and the last is the closing activity of learning (praying). 3). evaluation, observation (observation), performance (assignment), and checklist.
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Tommi, Himberg, and Thompson Marc R. "Learning and Synchronising Dance Movements in South African Songs – Cross-cultural Motion-capture Study." Dance Research 29, supplement (2011): 305–28. http://dx.doi.org/10.3366/drs.2011.0022.
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Music and dance are human universals. Understanding the communicative nature and the interpersonal dynamics of making music and dancing has a wide area of applications from academic to artistic, educational and therapeutic uses. Cross-cultural and embodied cognitive approaches are important, as they ensure a view across a spectrum of cultural practices and allow us to explore which aspects of cognitive performance are learned and how. In this study, our aims were to use a case study to investigate possible cross-cultural differences in movement, especially corporeal representation of beat and metre; to study group entrainment and factors contributing to synchronisation accuracy. From earlier studies in various fields of behavioural and brain imaging research (perception and attention, music performance, action observation network in the brain etc.) we expected that experts would be more coherent and better entrained, or mutually synchronised to each other, but we were interested in the temporal dynamics of entrainment in a group and the details of these differences. In our study, a choir from South Africa and a group of Finnish choir singers were brought together for a two-day workshop. Songs with choreographed dance movements from various cultures in southern Africa (e.g. Zulu, Sotho and Xhosa) were taught to Finnish participants, and a simple dance choreography was made for a Finnish song that was taught by the Finnish participants. Video, audio and movement data were recorded over a number of performances and practice sessions. Several participants were interviewed informally during the course of the workshop. In this study we analyse two recordings of performances, one of the African and the Finnish song-and-dance. As expected, the analysis showed differences in embodiment of rhythm and synchronisation between the novices and experts. The novices were very focused on footsteps and their whole body was entrained to just the beat-level of the metrical hierarchy. The experts, however, demonstrated entrainment to multiple metrical levels, with different parts of their bodies. Analysis of the temporal dynamics of the interpersonal relationships within each group revealed a process of continuous, mutual adaptation to achieve accurate entrainment. Investigation of group entrainment and individual deviations from the mean phase revealed roles of leaders and followers and illustrated differences in beat-by-beat synchrony and coordination of larger structures, including bars, phrases and the whole song. The findings demonstrate how making music and dancing in a group is an enlightening example of joint action and that dynamics of interpersonal coordination can be studied in a relatively naturalistic setting. Mimicry, mirroring, shared intentions and intersubjectivity, with all their emotional consequences can be experienced, observed and to some degree manipulated and studied in these settings. Our rich data set of natural musical behaviour are intended to help to direct the stricter, experimental research designs on this matter, as well as inform especially multi-cultural educationalists about learning patterns of rhythmic dance movements.
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Boldyreva, Indzhir M. "Песни о выселении калмыков и их возвращении из Сибири, записанные у информанта М. Б. Мудаевой". Бюллетень Калмыцкого научного центра Российской академии наук 15, № 3 (2020): 251–63. http://dx.doi.org/10.22162/2587-6503-2020-3-15-251-263.
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Goals. The paper introduces texts of songs dealing with the Kalmyk deportation and its follow-up period recorded from M. B. Mudaeva. These songs illustrate the historical truth of 1943 nation-wide tragedy and enormous happiness of the ones to have survived and returned to ancestral lands. Materials. The work examines songs recorded by the scholars of Kalmyk Research Institute of Language, Literature and History (present-day Kalmyk Scientific Center of the RAS) from M. B. Mudaeva during the 1960 folklore research expedition in Yashkulsky District. The song Hal’mgudyg nүүlһsnә tusk dun (‘Song of the Kalmyk Deportation’) deals with the deportation itself, and the song Hal’mgud Sibrәs irsnә tusk dun (‘Song of the Kalmyks’ Arrival from Siberia’) depicts the successful return and universal joy of ones who after all reached their dear steppe. Conclusions. The work introduces the songs about deportation of Kalmyks and their return to their native land that have not been published before.
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Semenova, Valentina Grigorevna, Lyudmila Stepanovna Efimova, and Zoya Konstantinovna Basharina. "Problems of alcohol consumption in the oral and written literary tradition of the Yakuts (late 19th – early 20th centuries)." Филология: научные исследования, no. 4 (April 2024): 30–46. http://dx.doi.org/10.7256/2454-0749.2024.4.70394.
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The research subject of this article is the texts of folklore and literary works of the late 19th to the early 20th centuries, dedicated to the issue of alcohol consumption. The research was conducted using historical-cultural and comparative-historical methods. The scientific novelty of the work lies in the authors’ attempt to comprehensively study the problem of alcohol in folklore and written literary works of the pre-revolutionary period. The study examines the initial instances of critical understanding of alcohol consumption in Yakut society, as expressed in oral and written literary traditions of the people. In their analysis of the texts, the authors explored previously undiscovered archival documents. They conclude that, starting from the late 19th century, “songs about vodka” emerged in Yakut folklore, addressing the issues of alcohol consumption and explaining the harmful effects of alcoholic beverages to the population. The article acknowledges the contribution of folk singers who, alongside intelligentsia, initiated efforts the combat excessive drinking in Yakutia. In the 1910s, A.E. Kulakovsky, the founder of Yakut literature, authored two works addressing the problem of alcoholism. These were the first works in Yakut literature presented in the form of literary genres: a short poem and a narrative poem with a clearly expressed and developing plot, and a well-balanced composition. While folk singers raised awareness of the issue of drinking in their songs and portrayed its harmful effects on individuals, Kulakovsky, recognizing alcoholism as a potential national threat, vividely illustrated the potential consequences of alcohol addiction and its destructive impact on people's lives. A.E. Kulakovsky, as an educator, public figure, and spiritual leader of the nation, endeavored through his creative work to caution his people against excessive alcohol consumption.
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Spooner, Catherine. "My Friend the Devil: Gothic Comics, the Whimsical Macabre and Rewriting William Blake in Vehlmann and Kerascoët’s Satania." Gothic Studies 25, no. 3 (2023): 318–34. http://dx.doi.org/10.3366/gothic.2023.0178.
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This article develops the concept of the ‘whimsical macabre’, introduced in my book Post-millennial Gothic: Comedy, Romance and the Rise of Happy Gothic (2017) to refer to texts which deliberately fuse the comic and cute with the sinister, monstrous or grotesque. I propose that Fabien Vehlmann and Kerascoët’s graphic novel Satania (2016) extends the whimsical macabre in new directions, by drawing on the work of Romantic poet and artist William Blake, whose illustrated books are often cited as forerunners of modern comics. By rewriting Blake’s visionary account of a journey into the infernal regions in The Marriage of Heaven and Hell (1793) and alluding to Songs of Innocence and of Experience (1789/1794), Satania reveals the serious ethical dimensions that underlie the whimsical macabre. In doing so, it interrogates and complicates the maturational narrative associated with children’s and young adult literature. The article concludes by suggesting that Satania’s heroine Charlie’s relationship with her demon draws on a Blakeian model of friendship in opposition, pointing towards a ‘reparative’ form of Gothic in which otherness is neither erased nor expelled, but embraced and cherished.