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Artigos de revistas sobre o tema "Mermaids in music"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2025

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1

Howard, Luke, and Tina Davidson. "I Hear the Mermaids Singing." American Music 18, no. 1 (2000): 112. http://dx.doi.org/10.2307/3052394.

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Ergin, Murat. "On Humans, Fish, and Mermaids: The Republican Taxonomy of Tastes and Arabesk." New Perspectives on Turkey 33 (2005): 63–92. http://dx.doi.org/10.1017/s0896634600004246.

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This essay analyzes arabesk, a form of popular music in Turkey, as it pertains to debates around culture, politics, and modernity. I argue that arabesk, rather than being limited to discussions of music as an aesthetic form, reveals important issues as to the historical unfolding of discursive patterns that still very much outline the boundaries of cultural debates in Turkish society. The historic changes of arabesk music corresponds to turning points in the cultural and political history of Turkey. Furthermore, following the historical trajectory of arabesk makes it possible to analyze large-

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d'Inca, Elise. "Sirènes at autres ondines : représentations médiévales des figures aquatiques scandinaves." Studia Universitatis Babeș-Bolyai Philologia 68, no. 2 (2023): 85–100. http://dx.doi.org/10.24193/subbphilo.2023.2.05.

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"Mermaids and Other Undines: Medieval Representations of Scandinavian Aquatic Figures. Without claiming to be exhaustive, this article compares the different aquatic figures of Scandinavian imagination, and the representations relating to Scandinavia, taking into account their cosmic aspect. This paper highlights the close connection of these creatures with time, weather and music, and the evolution of the representation of sea creatures that embody geography and climate, real or fantasized. These representations evolve, especially because of the important Christianization process that they un

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BRAMI, THOMAS. "Integrated Soundtracks, Sergei Eisenstein, and Man-Eating Mermaids that Sing." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (2020): 3–21. http://dx.doi.org/10.3828/msmi.2020.2.

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This article analyses the relationship between integrated soundtracks and genre through an examination of The Lure (2015). I discuss the filmmakers’ collaborative practice, and identify how the film integrates music, sound, and image in order to manipulate the codes of horror, fantasy, and the musical in a seamless and cohesive way. As well as positioning this practice within contemporary trends, this article also finds a historical precedent in Sergei Eisenstein’s writings and films. First, I chart the overlaps between Eisenstein and composer Sergei Prokofiev’s fluid collaborative working met

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Jefferies, Daze. "Fish Trade Futures: Counter-Archives and Sex Worker Worlds at the Margins of St. John's Harbour." Journal of Folklore Research 60, no. 2-3 (2023): 67–94. http://dx.doi.org/10.2979/jfr.2023.a912089.

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Abstract: This article imagines the sociohistorical lives of trans women (and) sex workers in Ktaqmkuk (Newfoundland) as deeply entangled with ecological relations of so-called Canada's Atlantic coast—particularly the cultural and economic politics of fish trade at St. John's Harbour. Feeling fishy, a trace of transfeminine sex worker expressive culture and vernacular performance, comes to signify an evocative autoethnographic approach to trans sex worker research-creation at the water's edge. Poetic, illustrative, and sculptural play as both counter-archival worldmaking and critical address h

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Jefferies, Daze. "Fish Trade Futures: Counter-Archives and Sex Worker Worlds at the Margins of St. John's Harbour." Journal of Folklore Research 60, no. 2-3 (2023): 67–94. http://dx.doi.org/10.2979/jfolkrese.60.2_3.04.

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Abstract: This article imagines the sociohistorical lives of trans women (and) sex workers in Ktaqmkuk (Newfoundland) as deeply entangled with ecological relations of so-called Canada's Atlantic coast—particularly the cultural and economic politics of fish trade at St. John's Harbour. Feeling fishy, a trace of transfeminine sex worker expressive culture and vernacular performance, comes to signify an evocative autoethnographic approach to trans sex worker research-creation at the water's edge. Poetic, illustrative, and sculptural play as both counter-archival worldmaking and critical address h

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Pietrini, Sandra. "The Parody of Musical Instruments in Medieval Iconography." Revista de Poética Medieval 31 (December 14, 2018): 87–107. http://dx.doi.org/10.37536/rpm.2017.31.0.58895.

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The vast field of musical iconography during the Middle Ages must necessarily deal with the rich and surprising imagery of western manuscripts, showing a fanciful proliferation of playing creatures and bizarre deformations, sometimes inspired by exotic suggestions. In marginal miniatures of 14th century we can discover an interesting and puzzling topic: the parody of entertainers, with hybrid men playing a vielle with tongs, mermaids or apes playing jawbones and so on. The spreading of this topic in medieval iconography is linked to a satirical purpose aimed at professional entertainers, harsh

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Astvatsaturov, Andrey, and Feodor Dviniatin. "“Sirens” by Joyce and the Joys of Sirin: Lilac, Sounds, Temptations." Arts 13, no. 3 (2024): 77. http://dx.doi.org/10.3390/arts13030077.

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The article is devoted to the musical context of the works of James Joyce and Vladimir Nabokov. Joyce’s Ulysses, one of the most important literary texts of the twentieth century, is filled with musical allusions and various musical techniques. The chapter “Sirens” is the most interesting in this context as it features a “musical” form and contains a large number of musical quotations. The myth of the singing sirens, recreated by Joyce in images and characters from the modern world, encapsulates the idea of erotic seduction, bringing threat and doom to the seduced. Joyce offers a new version o

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Avissar, Ariel. "Under the sea." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 21, no. 1 (2024): 95–96. http://dx.doi.org/10.5209/tekn.90515.

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This video applies a deformative logic to images taken from Disney’s The Little Mermaid (1989), connecting them intertextually with the film Under the skin (2013), which provides the music for the piece. It thus highlights and accentuates the violent, rageful gender dynamics of The Little Mermaid, reimagining it as a nightmarish scene of body horror and female subjugation.

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Cleveland, Janne. "Beyond Kids’ Stuff: A Review of Mermaid: A Puppet Theatre in Motion, by Alice Walsh (Kentville, NS: Gaspereau Press, 2005); Provenance, by Ronnie Burkett (Toronto: Playwrights Canada Press, 2005)." Canadian Theatre Review 128 (September 2006): 132–34. http://dx.doi.org/10.3138/ctr.128.022.

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Since its modest beginnings in 1971, Mermaid Theatre of Nova Scotia has maintained its commitment to “tell a good story, tell it simply, tell it well and tell it often” (Morrow). The story of the evolution and success of this company that creates and produces theatre for young people using puppetry, mask, dance, music and original scripts has been carefully and meticulously documented by Alice Walsh. As Walsh notes in her historiography, Mermaid: A Puppet Theatre in Motion, the company has evolved from a small experimental troupe touring shows in local schools in the Annapolis Valley to one th

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Zhang, Futong, and Aysylu Tagirovna Gumerova. "Du Mingxin. Piano Suite based on the ballet "Rusalka": the experience of stylistic and performance analysis." PHILHARMONICA. International Music Journal, no. 4 (April 2022): 27–38. http://dx.doi.org/10.7256/2453-613x.2022.4.38407.

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The object of the study is the piano work of the famous Chinese composer, teacher Du Minxin (born 1928). The genre composition of his piano work is diverse – it includes miniatures, suite cycles, concerts, fantasies, toccatas. A separate place is occupied by piano transcriptions created by the composer on the material of his own ballets – "Red Women's Squad", "Mermaid". The subject of the study is a piano suite based on the ballet "Rusalka", which is a repertoire composition in concert and pedagogical practice in China. The purpose of the work is to identify the stylistic and performing featur

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Baker, Sarah, and Jez Collins. "Popular music heritage, community archives and the challenge of sustainability." International Journal of Cultural Studies 20, no. 5 (2016): 476–91. http://dx.doi.org/10.1177/1367877916637150.

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This article identifies the challenges community archives of popular music face in achieving medium- to long-term sustainability. The artefacts and vernacular knowledge to be found in community archives, both physical and online, are at risk of being lost ‘to the tip’ and, consequently, to ‘cultural memory’, due to a lack of resources and technological change. The authors offer case studies of the British Archive of Country Music, a physical archive, and an online Facebook group Upstairs at the Mermaid, to exemplify how and why such groups must strategize their practices in order to remain sus

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Shykina, Nataliia. "Exploring Multimodality in English-Language Music Video: A Study of Sade’s Audiovisual Work." Studia Philologica 2, no. 23 (2024): 176–89. https://doi.org/10.28925/2412-2491.2024.2313.

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In contemporary linguistic research, the study of multimodality has gained prominence due to technological developments that have introduced novel tools for conveying information within a unified communicative space. Music videos, which combine verbal, auditory, and visual elements, exemplify polysemiotic unity, rendering them an optimal subject for investigating the interactions between modes in multimodal discourse. The objective of this study is to identify the characteristics of the integration of modes for meaning-making in the music video of the British band Sade for the song “No Ordinar

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Artemova, Evgenia G. "Current repertoire trends of Russian opera theaters (a review of the premieres of the 2023/2024 season of the Moscow opera)." Ученые записки Российской академии музыки имени Гнесиных 4, no. 51 (2024): 10–33. https://doi.org/10.56620/2227-9997-2024-4-10-33.

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Using the example of a review of new productions of the 2023/2024 season of three Moscow musical theaters, the article undertakes an analytical study of modern repertoire trends in Russian opera houses. The author’s focus includes premiere performances of the Helikon OperaThe Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre and the New Opera, in particular, the following productions are considered: "Cherevichki", "Emperor of Atlantis" and "Madama Butterfly" at the Helikon Opera, "The Tsar’s Bride", "Not Only Love" and "Mermaid" at the MAMT K. S. Stanislavsky and Vl.I. Nemiro

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Kartomi, Margaret J. "The Music-Culture of South-Coast West Sumatra: Backwater of the Minangkabau "Heartland" or Home of the Sacred Mermaid and the Earth Goddess?" Asian Music 30, no. 1 (1998): 133. http://dx.doi.org/10.2307/834265.

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Kalenichenko, O. M. "Interpretation of Gogol’s works on the puppet theater stage (based on the spectacle by Oksana Dmitrieva «May night, or Moonlight Witchcraft»)." Aspects of Historical Musicology 17, no. 17 (2019): 148–62. http://dx.doi.org/10.34064/khnum2-17.10.

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Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose

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Yen, Nguen Bao. "EXPRESSIVE AND PERFORMING FEATURES OF THE PART OF UNDINE FROM TCHAIKOVSKY'S OPERA OF THE SAME NAME." Arts education and science 3, no. 36 (2023): 113–21. http://dx.doi.org/10.36871/hon.202303113.

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When studying Russian operas based on fairy-tale plots, it is important to consider littleknown samples, including Tchaikovsky's second opera “Undine”. Extant in the form of five fragments, it is an essential component of the Russian tradition of adapting archetypal stories about sea maidens in the Romantic era. The article analyses the expressive means of the musical text and the vocal part of Undine. The colourful and magical are conveyed through orchestral writing with the timbres of harp, woodwind and string instruments typical for the “mermaid” imagery, and the corresponding textural and

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Петухова, Олена Іванівна. "ИНТЕРМЕДИАЛЬНОСТЬ В ПОВЕСТИ ЛАДЫ ЛУЗИНОЙ «НИКОЛА МОКРЫЙ»". Наукові записки Харківського національного педагогічного університету імені Г.С. Сковороди "Літературознавство" 2, № 84 (2017): 110–21. https://doi.org/10.5281/zenodo.268994.

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One of the stories by modern Ukrainian Russian-speaking writer Lada Lusina “Nikola Mokryi” (2011) is examined in the article. This story is a part of the cycle “Kyiv Witches” and until now it hasn’t become the object of special study. The aim of the work is the researching of its intermedial space, namely the author’s usage of the means of music, theatre and painting (iconography). The examining of main peculiarities of using the means of nonverbal image in a fiction text became the task of this work. The story studying allows extending an idea about the ways of postmodernism development in th

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Yuhan, Qin. "Du Mingxin’s solo piano works: genre-style and performance aspects." Aspects of Historical Musicology 37, no. 37 (2024): 167–81. https://doi.org/10.34064/khnum2-37.08.

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Statement of the problem. The article examines the piano works of the famous Chinese composer, pianist, violinist and conductor with international prestige Du Mingxing. The composer is known primarily as the author of large-scale symphonic works, ballets, choral, vocal and instrumental works, numerous arrangements of folk songs. Solo piano works of the composer are analyzed – the suites “Red Women’s Battalion”, “Mermaid”, “New Century”, the piece “Etude”, and the arrangement of folk tune "Lotus Dance". The genre component of the composer’s piano works is studied and their stylistic features ar

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Matasova, Iuliana. "«SILENT ALL THESE YEARS» OR BECOMING IN EVERYDAYNESS: TORI AMOS AND HER POETICS OF THE QUOTIDIAN." CONTEMPORARY LITERARY STUDIES, no. 18 (December 13, 2021): 74–85. http://dx.doi.org/10.32589/2411-3883.18.2021.246961.

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Created by the American singer-songwriter Tori Amos «Silent All These Years» is a prominent cultural product of the 1990s in the domain of western popular music. Released in the beginning of the decade it has actualized the current sensibilities, ethically and aesthetically. Deploying the efficient mutual engagement of feminist and postmodernist strategies the author mobilizes the quotidian and performs its intellectual aestheticization. The study focuses on the ways the everyday operates in the song lyrically and musically, as well as on the author’s intention of aestheticizing the mund

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Rubanova, Larisa G. "Soul of the dance. To the anniversary of Olga Tarasova." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 209–19. http://dx.doi.org/10.35852/2588-0144-2022-4-209-219.

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The article is devoted to the creative biography of the outstanding choreographer, ballet dancer and professor of GITIS Olga Tarasova, who celebrated her 95th birthday in 2022.Olga Georgievna graduated from the Moscow Choreography School (nowadays – Moscow State Choreography Academy) in 1946. Then she began her professional career in the ballet troupe of the Bolshoi Theatre, and in 1957 received second education at GITIS as a choreographer. During twenty years at the Bolshoi Theatre, Olga Tarasova gained a reliable experience as a dancer and ballet soloist in numerous classical productions Ray

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Yefremov, Yevhen. "WEDDING SONGS OF THE LOWER PRIPYAT BASIN WITHIN UKRAINE: TYPOLOGICAL CHARACTERISTICS AND LOCAL INTERPRETATION." Problems of music ethnology 19 (October 24, 2024): 50–63. https://doi.org/10.31318/2522-4212.2024.19.319756.

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This article examines the wedding song and ritual tradition of the Ukrainian Polissya region, specifically the area located in the lower reaches of the Pripyat River and its tributaries – the Uzh and Teteriv rivers. These territories correspond to the northern part of the contemporary Kyiv region. Until recently, the wedding ritual system in this area retained numerous archaic elements, which are also evident in the wedding melodies. From the perspective of pitch organization, most wedding melodies exhibit notable uniformity: they consistently feature a narrow ambitus, with scales typically co

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Fedenko, A. Yu. "Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 73–92. http://dx.doi.org/10.34064/khnum1-56.05.

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Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the childre

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Davis, Jalondra. "Crossing Merfolk Narratives of the Sacred: Nalo Hopkinson’s The New Moon’s Arms and Gabrielle Tesfaye’s The Water Will Carry Us Home." Shima: The International Journal of Research into Island Cultures 15, no. 2 (2021). http://dx.doi.org/10.21463/shima.137.

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This article defines what I call the ‘crossing merfolk’ narrative, the idea that African people who jumped or were cast overboard during the Middle Passage became water-dwelling beings. While critical attention has been increasing for 1990s’ electronic music duo Drexciya, whose sonic fiction contains the most well-known example of this narrative, this is actually a recurring tradition in Black oral and artistic culture that can be traced to West and Central African religions. I focus particularly on what I call ‘crossing merfolk narratives of the sacred’, M. Jacqui Alexander’s term for African

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Hayward, Philip. "Merlerium: Mermaids, mythology, desire and madness in Robert Eggers’ The Lighthouse (2019)." Shima: The International Journal of Research into Island Cultures 16, no. 2 (2022). http://dx.doi.org/10.21463/shima.111.

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Robert Eggers’ 2019 film The Lighthouse provides an idiosyncratic representation of the mermaid as a Jungian anima in a film that revolves around the homoerotic tension between two lighthouse keepers on a remote, windswept island. While the mermaid theme is essentially a minor aspect of the film, juxtaposed with other mythological motifs, it is significant for the intensity of passions it catalyses in one of the film’s two male leads. Analysing the film, its script and statements of directorial intent, this article first discusses aspects of the interaction of the masculine characters and thei

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Верба, Н. И. "The Archetypal Image of the Sea Maiden In Julia Weisberg’s Creativity." Музыковедение, no. 5 (May 13, 2019). http://dx.doi.org/10.25791/musicology.05.2019.641.

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В статье рассматривается архетипичный образ морской девы, многосторонне запечатленный в искусстве. Популярность русалочьей тематики, в особенности в течение романтического XIX века, и частота претворений образа русалки в разножанровых литературных, живописных и музыкальных опусах способствовали формированию спектра выразительных средств, наиболее ярко отражавших его самые характерные черты. Опера «Русалочка» и вокальный цикл «Песни Раутенделейн» Юлии Вейсберг представляют собой яркие «инсталляции» волшебного сюжета о морской деве. Основное внимание в статье уделяется истории создания этих сочи

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Noveliss. "Fear of a Black Mermaid." Shima: The International Journal of Research into Island Cultures 17, no. 1 (2023). http://dx.doi.org/10.21463/shima.193.

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Noveliss’s track ‘Fear of a Black Mermaid’ was released on his Vagabond EP in November 2022, responding to a social media furore about the casting of Black performer Halle Bailey as the lead in Disney’s live action remake of its 1989 film The Little Mermaid. A self-produced music video for the song was also released in January 2023. The lyrics, music track and music video are reproduced in Shima as significant contributions to debates around racism, racial stereotypes and popular culture triggered by the film.

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De Castro, Manuel Antônio. "O Canto das Sereias: da escuta á travessia poética." Revista entreideias: educação, cultura e sociedade 8, no. 7 (2007). http://dx.doi.org/10.9771/2317-1219rf.v8i7.2790.

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A música numa sociedade de consumo e a música como Escuta. Interpretação do mito, do canto das sereias, da odisséia, do ponto vista mítico. O mito e a arte. O mito e o rito como linguagem e língua. Ulisses e o destino. O destino e a liberdade. A liberdade e o horizonte. O horizonte e a liminaridade. O apelo radical da Escuta e a experiência de vida como travessia poética. <br> <br>  <B>Palavras-chave</B>: música-escuta, destino-travessia.<br> <br> <br>   <B>Abstract</B>: Music in a consumption

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Верба, Н. И. "Interpretation of The Little Mermaid by G. H. Andersen in the ballet by L. Auerbach and J. Neumeier: new sound and eternal meanings of the old plot." Музыковедение, no. 6 (June 24, 2021). http://dx.doi.org/10.25791/musicology.6.2021.1197.

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Мифологические, фольклорные сюжеты составляют золотой фонд культуры – они являются вдохновляющим творцов импульсом и представляют собой базис для произведений различных жанров. Сохраняя основные мотивы, вечные сюжеты трансформируются в зависимости от эстетических, стилевых, философских черт того или иного периода. Яркий пример подобных модификаций – сюжет о Русалочке. Древняя легенда о драматическом контакте морской девы с человеком воплощена во множестве литературных и музыкальных сочинений, демонстрируя поразительную способность быть созвучной важным мировоззренческим константам разных эпох.

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Mohulatsi, Mapule. "Black Aesthetics and Deep Water: Fish-People, Mermaid Art and Slave Memory in South Africa." Journal of African Cultural Studies, March 1, 2023, 1–13. http://dx.doi.org/10.1080/13696815.2023.2169909.

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Borovyk, Svitlana. "FEATURES OF IMPLEMENTATION ROMANTIC TRADITIONS IN THE OPERA MUSIC OF A. DVORZHAK (ON THE EXAMPLE OF THE MERMAID PARTY OF THE OPERA OF THE SAME NAME)." Young Scientist 9, no. 85 (2020). http://dx.doi.org/10.32839/2304-5809/2020-9-85-3.

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Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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Rutherford, Amanda, and Sarah Baker. "The Disney ‘Princess Bubble’ as a Cultural Influencer." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2742.

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The Walt Disney Company has been creating magical fairy tales since the early 1900s and is a trusted brand synonymous with wholesome, family entertainment (Wasko). Over time, this reputation has resulted in the Disney brand’s huge financial growth and influence on audiences worldwide. (Wohlwend). As the largest global media powerhouse in the Western world (Beattie), Disney uses its power and influence to shape the perceptions and ideologies of its audience. In the twenty-first century there has been a proliferation of retellings of Disney fairy tales, and Kilmer suggests that although the main

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Hackett, Lisa J., and Jo Coghlan. "Conjuring Up a King." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2986.

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Introduction The coronation of King Charles III was steeped in the tradition of magic and ritual that has characterised English, and later British, coronations. The very idea of a coronation leverages belief in divinity; however, the coronation of Charles III occurred in a very different social environment than those of monarchs a millennium ago. Today, belief in the divine right of Kings is dramatically reduced. In this context, magic can also be thought of as a stage performance that relies on a tacit understanding between audience and actor, where disbelief is suspended in order to achieve

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