Bibliografias temáticas / Judaism – Songs and music – Texts

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Literatura científica selecionada sobre o tema "Judaism – Songs and music – Texts"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 28 de julho de 2025

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Artigos de revistas sobre o assunto "Judaism – Songs and music – Texts"

Muszkalska, Bożena. "Kolberg and Jewish Music." Musicology Today 11, no. 1 (2014): 23–30. http://dx.doi.org/10.2478/muso-2014-0010.

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Abstract The world of the Jews must have attracted Kolberg, who as an educated member of the intelligentsia must have been conscious of what was happening in Judaism in his times. The nineteenth century was indeed a time of the flourishing Hasidism, the travelling hazanim, the development of the Jewish Enlightenment movement (the Haskalah), a great numbers of Jewish Tanzhaus openings. Jewish themes also appear in almost every volume of Kolberg’s Complete Works. However, Jews only formed the backdrop for the events taking place among Poles. Only in the case of a few records left by Kolberg can

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Thompson, Joseph. "From Judah to Jamaica: The Psalms in Rastafari Reggae." Religion and the Arts 16, no. 4 (2012): 328–56. http://dx.doi.org/10.1163/156852912x651054.

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Abstract Rastafari reggae bears a profound but problematic relation to the Judeo-Christian biblical texts, particularly the Psalms. Involving multiple religious and cultural transmissions, orders of intertextuality, the adaptation of Judaic psalms into reggae songs clearly constitutes some form of appropriation, an act of reinterpretation that has religious, political, cultural, and ethnic implications. This analysis aims to reconcile conflicting narratives explicating this relation and reinterpretation, approving the creative adaptation of biblical texts while resisting a trend in some of the

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Tawa, Nicholas E., and Frederick A. Hall. "Songs I to English Texts." American Music 5, no. 4 (1987): 452. http://dx.doi.org/10.2307/3051454.

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Tawa, Nicholas, and Lucien Poirier. "Songs II to French Texts." American Music 7, no. 1 (1989): 103. http://dx.doi.org/10.2307/3052061.

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Szczur, Piotr. "Jan Chryzostom o śpiewie i muzyce. Zarys problematyki." Vox Patrum 67 (December 16, 2018): 599–618. http://dx.doi.org/10.31743/vp.3417.

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This article has been divided into three parts. The first part discusses the importance of singing and music in Jewish and Christian traditions; the second part discusses Chrysostom’s observations on singing and secular music (a lot of space is devoted to criticizing the obscene songs) and Jewish; the last part of the article is devoted to Christian singing. John Chrysostom attributed the great importance of singing and music and pointed to their various positive functions and actions. However, he criticized apotropaic and convivial songs, and theatrical and wedding songs as well. He also spo

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Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 81, no. 5 (2025): 616–18. https://doi.org/10.53830/sing.00142.

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Abstract: Three new music publications are featured, two by American publishers, and one by the venerable Italian publisher, Casa Ricordi. 40@40: Volume I is the latest release by NewMusicShelf, forty new songs by forty composers, curated and commissioned by American soprano Laura Strickling. Classical Vocal Reprints has published Phantaste, Opus 8, songs by Kenneth Mahy, American composer, with texts by nineteenth century British fantasy writer George MacDonald. Casa Ricordi has re-released songs by early twentieth century composer Ermanno Wolf-Ferrari, Canzoniere, Opus 17, for Voice and Pian

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Sklavounakis, Georgios. "Semiotics on music charts: The signification of late-blooming hits in contemporary popular music." Punctum. International Journal of Semiotics 9, no. 2 (2023): 189–208. http://dx.doi.org/10.18680/hss.2023.0025.

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Eliseo Verón’s approach to circulation focuses on the gap between production and recognition and the consideration of texts in relation to their contexts of production and consumption. In this paper, we employ Veron’s concepts of grammar of production and grammar of recognition to examine popular songs that reached their peak of success several years after their release. Drawing our case studies from the Hot 100 American singles chart, we combine social semiotics and semiotics of popular music to examine the contexts of the initial songs’ release and their eventual commercial peak while consid

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Spracklan-Holl, Hannah. "Noblewomen’s Devotional Song Practice in ‘Patiençe veinque tout’ (1647–1655), a German Manuscript from the Mid-seventeenth Century." Context, no. 48 (January 31, 2023): 35–51. http://dx.doi.org/10.46580/cx78832.

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"Devotional song in the German vernacular was a large repertory in the seventeenth century; as Robert Kendrick points out, the more than two thousand printed collections of these songs produced at this time attest to a relatively musically literate public that engaged with the repertoire. Most published devotional songs appeared in collections, usually consisting of a foreword or dedications, other poetry, and songs. The songs themselves often appeared without printed musical notation, indicating the use of contrafactum. Both men and women contributed to the German devotional song repertoire;

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CHRISTODOULAKIS, MANOLIS, COSTAS S. ILIOPOULOS, M. SOHEL RAHMAN, and WILLIAM F. SMYTH. "IDENTIFYING RHYTHMS IN MUSICAL TEXTS." International Journal of Foundations of Computer Science 19, no. 01 (2008): 37–51. http://dx.doi.org/10.1142/s0129054108005528.

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A fundamental problem in music is to classify songs according to their rhythm. A rhythm is represented by a sequence of “Quick” (Q) and “Slow” (S) symbols, which correspond to the (relative) duration of notes, such that S = 2Q. In this paper, we present an efficient algorithm for locating the maximum-length substring of a music text t that can be covered by a given rhythm r.

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Cruz, Fabielle Rocha. "Intertextuality and recontextualization in music: an analysis of songs." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 23, no. 46 (2024): 72–85. http://dx.doi.org/10.12957/palimpsesto.2024.81405.

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Critical Discourse Analysis is an area in constant development, especially with the relevance of multimodal texts, which are becoming increasingly frequent due to the presence of technology. Considering the significance of CDA in applied linguistics and other areas, this article aims to present the concepts of intertextuality and recontextualization based on the use of music, considering that many texts are based on other works. With the conceptualization of these two essential elements in the area of Critical Discourse Analysis, as well as the understanding of multimodality as texts that use

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Teses / dissertações sobre o assunto "Judaism – Songs and music – Texts"

Dlepu, Siziwe Everrette. "From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/943.

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Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message i

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Cohn, Zentner Naomi. "Sephardic influences in the liturgy of Ashkenazic Orthodox Jews of London." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82697.

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This thesis examines Sephardic melodies that were adopted into the liturgy of the Ashkenazic Jews in London during the early twentieth century. The work begins by presenting a history of Sephardic and Ashkenazic Jews from the time they settled in England to the end of the nineteenth century. Through an analysis of social and religious changes taking place among English Jews of the nineteenth century, this thesis explicates reforms in the synagogue service that led to the inclusion of polyphonic music into the synagogue and eventually, to the incorporation of Sephardic melodies into Ashk

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Garcia-Saavedra, Vivian. "The efficacy of folk songs versus songs composed for music education texts as determined by the primary grades music skills test scores of kindergarten and first grade students." FIU Digital Commons, 2002. https://digitalcommons.fiu.edu/etd/3927.

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The purpose of this research was to determine whether folk songs versus songs composed for music education texts would improve the music memory and performance skills of kindergarten and first grade students in a Miami Dade County Public School as measured by “The Primary Grades Music Skills Test” (PGMST). The folk songs selected for this study are multi-ethnic. A sample of 80 students, 40 from kindergarten and 40 from first grade was drawn from the Lincoln-Marti School, an affiliate private school of the Miami Dade County Public School System. Within each grade level, 20 students composed the

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Lebaka, M. E. K. (Morakeng Edward Kenneth). "Psalm-like texts in African culture : a Pedi perspective." Thesis, University of Pretoria, 2009. http://hdl.handle.net/2263/25129.

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Up to now there has been no attempt by Biblical scholars to compare the book of Psalms in the Old Testament with Pedi psalm-like songs. This study aims to fill that gap in the research and so contribute to the development of the African cultural heritage – especially that of the Pedi culture, by using indigenous knowledge systems. The research commences with a descriptive analysis of the various genres within the Book of Psalms. A variety of psalms types are discussed, including: Hymns of praise; Thanksgiving songs (communal and individual); Laments (communal and individual); Royal psalms; Hym

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FORRESTER, ELIZABETH HARTLEIGH. "Musical Semantics within Modern Literature: A Study of Seven American Art Songs Set to the Texts of Gertrude Stein." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211255987.

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Monsalve, Mejía Juana. "María Teresa Prieto's "Seis Melodías": An Analysis of Its Historical Background and Text-Music Relationship." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609097/.

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Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text.

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Gross-Mejía, Jennifer Anne. "The working hour: A rhetorical analysis of the lyrics of Tears for Fears." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2477.

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Childhood friends Curt Smith and Roland Orzabal founded the band Tears for Fears, and were the two primary members from 1982-1990. Their songs describe the struggle of coping with childhood abuse. This thesis analyzes the rhetorical aspects of their lyrics, emphasizing how the words of their songs express the fundamental human response to abuse, and the painful process of recovery. It explores how the songwriters use the psychological theories of Arthur Janov and Carl Jung to scaffold their experience of working through emotional trauma; and how they combine those theories with astrological sy

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Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.

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This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.

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Kloppers, Elizabeth C. "Kerkliedere vir 'n nuwe generasie - 'n Liturgies-himnologiese ontwerp onder voorwaarde van die Ekumene." Thesis, University of Pretoria, 2004. http://hdl.handle.net/2263/31115.

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Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth cen

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"Automatic lyric alignment in Cantonese popular music." 2006. http://library.cuhk.edu.hk/record=b5892755.

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Wong Chi Hang. Thesis submitted in: October 2005. Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. Includes bibliographical references (leaves 89-94). Abstracts in English and Chinese. Abstract --- p.ii 摘要 --- p.iii Acknowledgement --- p.iv Chapter 1 --- Introduction --- p.1 Chapter 2 --- Literature Review --- p.5 Chapter 2.1 --- LyricAlly --- p.5 Chapter 2.2 --- Singing Voice Detection --- p.6 Chapter 2.3 --- Singing Transcription System --- p.7 Chapter 3 --- Background and System Overview --- p.9 Chapter 3.1 --- Background --- p.9<b

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Livros sobre o assunto "Judaism – Songs and music – Texts"

D, Frishman Elyse, Baskin Leonard 1922-, and Central Conference of American Rabbis., eds. [ha -Nerot halalu] =: Haneirot halalu = These lights are holy : a home celebration of Chanuka. CCAR Press, 1989.

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Seltser, Dov. ha-Yetsirah Yizkor le-Yitsḥaḳ ṿe-hitbonenut bi-meḳoroteha. Rekhes hotsaʼah le-or, 1999.

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Israel. Miśrad ha-ḥinukh ṿeha-tarbut. Minhal ḥevrah ṿe-noʻar. Seder 15 bi-Shevaṭ. Miśrad ha-ḥinukh ṿeha-tarbut, Minhal ḥevrah ṿe-noʻar, 1998.

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ill, Teutsch Betsy Platkin, ed. One little goat--Had gadya. J. Aronson, 1990.

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Dean, Gene. Country songs and talk songs. Goodway Pub., 1998.

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Judith, Pasamanick, Collins Temma ill, and Dicke Karen ill, eds. Rhyme, rhythm, and music. Modern Curriculum Press, 1991.

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Castiglione, Janice. Christmas songs. Modern Pub., 1996.

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Niedecken, Wolfgang. BAP: Neue Songs 2007-2011. Hoffmann und Campe, 2011.

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Linus, Joe. Songs from the ZebraBook. Acquisition Management & Design, 1996.

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Porter, Cole. Let's do it. Chronicle Books, 1993.

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Capítulos de livros sobre o assunto "Judaism – Songs and music – Texts"

Lubet, Alex. "Transmigrations: Wolf Krakowski’s Yiddish Worldbeat in its Socio-Musical Context." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0016.

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This chapter examines Wolf Krakowski's legendary CD Transmigrations, which was the first example of Yiddish worldbeat. Transmigrations comprises principally secular songs, although these are at times referenced, as is nearly unavoidable in chronicles of Jewish life. Two songs, ‘Shabes, shabes’ and ‘Zol shoyn kumen di geule’ (Let the Redemption Come), are traditionally devotional, if non-liturgical. The songs that address the Holocaust and other Jewish suffering pose basic spiritual questions that Jews must ask, though not in formal prayer. In determining any music's Jewishness, lessons from th

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Mohn, Christine. "Sjelen i kroppen: Sang og musikk i jødisk tradisjon." In Musikk og religion: Tekster om musikk i religion og religion i musikk. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.177.ch12.

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Song is an inseparable part of Jewish prayer and other religious rituals. The earliest written sources describe how musically accompanied rituals are pleasing to God, and commentators from all periods of Jewish history emphasize the role of song in beautifying and intensifying prayer and religious devotion. Metaphorically speaking, the religious texts and rituals comprise the body of Judaism, while the melodies are likened to its soul. Outside of the synagogue, song and music accompany virtually all ritual celebrations and festivities. Non-religious Jews often cite music as a major and highly

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Herder, Johann Gottfried, and Philip V. Bohlman. "Prologue." In Song Loves the Masses. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520234949.003.0001.

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Over the course of more than two centuries modern readers have returned to Johann Gottfried Herder’s writings because of the wide-ranging influence on the many areas of thought that are foundational to modern intellectual history. In this prologue, Herder’s contributions to theological writings from world religions provide touchstones for the foundations of world music in intellectual history. His studies of Christianity and Judaism, as well as early Hindu writings, become common historical subject matter, joined through translation and the widespread presence of music in seminal texts. The pr

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Frith, Simon. "Songs as Texts." In Performing Rites. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198163329.003.0008.

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Abstract Most contemporary popular music takes the form of song (even acid house), and most people if asked what a song “means” refer to the words. In examining what the words do mean we can follow two obvious strategies, treating songs either as poems, literary objects which can be analyzed entirely separately from music, or as speech acts, words to be analyzed in performance. But in listening to the lyrics of pop songs we actually hear three things at once: words, which appear to give songs an independent source of semantic meaning; rhetoric, words being used in a special, musical way, a way

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"The 1954 Miṣḥaf as a Holy Book of Paraliturgical Songs." In Judaism and Islam One God One Music. BRILL, 2019. http://dx.doi.org/10.1163/9789004412637_003.

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"The 1954 Miṣḥaf as a History Book of Paraliturgical Songs." In Judaism and Islam One God One Music. BRILL, 2019. http://dx.doi.org/10.1163/9789004412637_004.

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Boulton, Maureen. "Intermedial Texts." In The Edinburgh Companion to Literature and Music. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0008.

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The term ‘intermediality’ is applied to texts that incorporate an independent medium, and in medieval contexts may refer to the combination of text and image or of literature and music. Experimentation in thirteenth- and fourteenth-century France led to the creation of a variety of hybrid works. Several romances (Guillaume de Dole, Roman de Perceforest, Roman du Castelain de Couci and Gerbert de Montreuil’s Roman de la Violette) incorporate songs described as sung but without melodies in the surviving copies. Others (Roman de Tristan en prose, Aucassin et Nicolete) include musical notation in

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Thym, Jürgen. "Reading Poetry Through Music." In The Songs of Fanny Hensel. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0011.

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In an extension of Stephen Rodgers’s efforts to turn “an analytical lens” on Fanny Hensel, this chapter focuses on selected Hensel settings whose texts have also inspired other composers: “Verlust” after Heine (“Und wüssten’s die Blumen”), also set by Robert Schumann and Robert Franz; “Frühling” (Eichendorff) with Schumann’s and Curschmann’s “Frühlingsnacht” as companions; and “Du bist die Ruh” (Rückert), also set by Schubert (and many others). In order to avoid comparing stylistically incompatible settings, the selection has been limited to Lieder between ca. 1825 and ca. 1850. Taking stock o

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Low, Peter. "Translating the Texts of Songs and Other Vocal Music." In The Cambridge Handbook of Translation. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108616119.026.

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O’Connor, Michael. "Hymns, Songs, and the Pursuit of Freedom." In Theology, Music, and Modernity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0011.

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The most recent biographer of Richard Allen (1760–1831) calls him a ‘Black Founding Father’, and the hymn books he published played their part in supporting his unyielding conviction that life, liberty, and the pursuit of happiness belonged no less to black Americans than to whites. The hymn texts bear witness to Christian faith at a crucial period in the history of American Christianity, but they cannot be appreciated without the wider context of performance practice and social customs. Central to this context is the tension in Allen’s day between ‘Methodist enthusiasm’ and ‘law-and-order rel

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