Статті в журналах: "Acting through song"

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Hatsenko, Halyna, Nataliia Kovmir, and Vadym Yurchuk. "Stage Performance of Pop Song: Set of Expressive Means in Contemporary Performance Practices." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 2 (December 9, 2024): 170–82. https://doi.org/10.31866/2616-7581.7.2.2024.316731.

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The art of pop singing includes not only vocal art but also a complex of expressive means, among which the performer’s acting skills play a prominent role; the extent to which additional expressive means are used depends on the performer’s individuality, the semantic, figurative, emotional and stylistic originality of the song. The purpose of the research is to describe the set of expressive means that a singer can use when creating an artistic image and performing a pop song on stage (vocal art, acting and the singer’s image (stage image), theatricalisation and scenography of a musical piece, the role of accompaniment). Research methodology. Musicological, stylistic, and contextual analysis is applied; a complex of expressive means of a stage performance of a pop song in modern socio-cultural conditions is considered, which is the basis for forming a musician (pop singer) – an artist of a new universal type. The scientific novelty of the study lies in the in-depth consideration of a complex of expressive means in the contemporary stage practices of pop singers, including the acting skills of pop performers, the theatricalisation of vocal pop works, etc., which makes it possible to determine the trend of development of contemporary pop song as a synthesis of acting and vocal art. Conclusions. When a song is sung in the name of a character, the main means of expression of the pop singer’s acting skill is transformation, the creation of the character of the character for whom the song is sung. The theatricalisation of a pop song requires the performer and the director to have a sense of proportion to understand that the meaning and image of the work are revealed primarily through singing; one of the most essential tasks of the director is to help the pop singer find an original and organic image. It is undeniable that the live accompaniment of a song provides an opportunity for a broader theatricalisation in the sense of communication between the singer and the concertmaster or orchestra. In the pyrotechnics of a pop singer’s performance, the leading positions belong to inner vision, imagination and penetration into the emotional and semantic construction of the material.

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Hermida, Rita. "VOCABULARY ACQUISITION FOR YOUNG LEARNERS THROUGH SONGS." Gender Equality: International Journal of Child and Gender Studies 5, no. 1 (October 14, 2019): 95. http://dx.doi.org/10.22373/equality.v5i1.5381.

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Teaching English for Young Learner has been broadly discussed in many academic writings. Young learner is closely regarded to have a massive memory which can be potentially filled by any information. This potential age makes linguist attract to know more about how a language can be absorbed by children. Many theories are then occurred which are mostly stated that even a foreign vocabulary is possible to be learnt by the children. However, different place may give a different result. By this point, here, the writer was interested in identifying further information how the vocabulary acquisition in young learners. The place taken in this study was one of kindergarten in Banda Aceh which had nine classes, and each class consisted of 20 children. The choice was referred to the some conditions which made the researcher interested, namely, most of the students were not from local area where most people spoke Acehness language; and most of the students had not ever been aboard nor stayed in a country where English was speoken. The result shows that most of teacher used song to introduce the foreign vocabulary to the children. The children would sing the song and dance together by acting out what the lyrics if the song stated. The atmosphere of the classroom was encouraging.

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Wheeldon, Amie, Katarzyna Kwiatkowska, Paweł Szymański, and Tomasz S. Osiejuk. "Male and female songs propagation in a duetting tropical bird species in its preferred and secondary habitat." PLOS ONE 17, no. 10 (October 3, 2022): e0275434. http://dx.doi.org/10.1371/journal.pone.0275434.

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Acoustic signals produced by animals must transmit through the environment to reach potential receivers and change their behaviour. Both the environment (vegetation, air properties, other animals) and the form of the signal affect the propagation process. Here we investigated how the transmission of different song types of a duetting songbird species inhabiting an extreme environment within African montane forest, varies between males and females as well as different types of micro-habitats. We hypothesised that male and female songs would have different transmission properties, reflecting known differences in signal form and function. We analysed signal-to-noise ratio (SNR), excess attenuation (EA) and tail-to-signal ratio (TSR) of songs of male and female Yellow-breasted Boubous (Laniarius atroflavus) that were played and re-recorded in a range of sites representing the species-typical habitats. We found significant effects of distance, site (habitat) and sex reflected in all three measures of sound degradation. The clearest, primarily distance-dependent pattern was found for SNR of songs propagated in level forest site. EA was substantially higher in shrubs than in forest habitats, while TSR reflecting longer echoes appeared at longer distances in forest sites. Thus, Yellow-breasted Boubou songs are better propagated in forests than in disturbed sites covered with shrubs. We found that all male song types used for broadcast singing propagated farther than female songs, with significantly higher SNR at all distances. The different male song types which are known to have different functions, also demonstrated a differentiated pattern of propagation reflecting their functionality. All signals that were tested propagated the furthest in the ideal condition described as forest with a level terrain. Signals degraded much faster during transmission through shrubs regrowing after forest burning. On this site, the differences in the propagation of male and female songs, as well as the differences between male song types, were relatively least pronounced. Transmission in typical mountain forest among streams and with substantial terrain variation revealed that degradation pattern in such habitat could be perturbed in a non-linear way. Streams acting as a source of high noise level also negatively affected transmission and may strongly limit the perception of birds staying close to them. However, stream noise did not affect sex differences in song propagation as was found for the site located in shrubs. Male songs showed more efficient transmission through all habitats (least in the shrubs) than female song. These differences were the result of male songs having a whistle structure that is better adapted for long-range propagation than the atonal, wideband frequency female vocalisations. Results support the idea that signals of males of the Yellow-breasted Boubous evolved under the pressure of long-range communication both with rivals and females, while females of the species are much more focused on within-pair communication or signalling together with their partner. The consequence of deforestation resulting in pushing back territories to the forest remnants along streams may be a shortening of the song’s active range, in particular, in females.

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Effendy, Moh Hafid. "Nilai Religius pada Kearifan Lokal Tembang Macapat Madura." Khazanah Theologia 3, no. 1 (January 30, 2021): 1–12. http://dx.doi.org/10.15575/kt.v3i1.10959.

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The religious value of the local wisdom of the Madurese Macapat song is motivated by the variety of Madurese macapat songs that contain religious values which until now have been neglected by the Madurese ethnic in everyday life. This article examines the religious value of local Madurese wisdom in macapat songs. The method in this research uses a qualitative approach with a descriptive type. The techniques used in collecting data are through transcription, observation, documentation, and listening. Meanwhile, to analyze the data, researchers used identification, classification, and data description techniques. The results showed that the religious value of the local wisdom of the Madura macapat song contains the relationship between humans and God the creator of nature, namely Allah commands humans to carry out His good commands and stay away from His prohibitions. Meanwhile, the human-human relationship found symbolic meaning parèbhâsan with a reflection from Paul Recoer namely Kerras lamon ta’ akerrès which is intended for people who do not think before they act so that something happens less profitable for them. Madurese are advised to think before acting, so as not to be careless in doing something to others.

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Ghaliyah, Bunga Dessri Nur. "Makna Pesan Verbal Lagu "Nasib Bunga" Karya Rhoma Irama." Metahumaniora 12, no. 1 (April 27, 2022): 105. http://dx.doi.org/10.24198/metahumaniora.v12i1.37798.

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ABSTRAKTulisan ini merupakan analisis terhadap lirik lagu “Nasib Bunga” yakni salah satu lagu dangdut yang diciptakan Rhoma Irama dan dipopulerkan oleh Noer Halimah. Penelitian berjenis kualitatif ini dilakukan untuk mengetahui makna pesan verbal dalam lagu tersebut melalui analisis semiotika-Michael Riffaterre yang terdiri atas pembacaan heuristik dan hermeneutik. Melalui analisis yang berbasis pada data-data yang dikumpulkan dari hasil studi pustaka dan wawancara, dapat diketahui bahwa lagu “Nasib Bunga” mengandung makna mendalam yang secara garis besar berpesan untuk senantiasa berpikir sebelum bertindak agar tidak terjerumus kepada hal yang dapat merugikan dan disesali di kemudian hari. Selain itu, dapat diketahui pula bahwa makna lagu Nasib Bunga dibalut menggunakan redaksi kata dan simbol yang “tepat” sehingga lagu ini menjadi karya dakwah yang dapat diterima di masyarakat. Kata Kunci : Nasib Bunga; Makna; Lirik; Semiotika; Michael Riffaterre ABSTRACTThis paper is an analysis of the lyrics of the song "Nasib Bunga" which is one of the dangdut songs created by Rhoma Irama and popularized by Noer Halimah. This type of qualitative research was conducted to determine the meaning of the verbal message in the song through the semiotic analysis of Michael Riffaterre which consists of heuristic and hermeneutic readings. Through analysis based on data collected from the results of literature studies and interviews, it can be seen that the song "Nasib Bunga" contains a deep meaning which in general is a message to always think before acting so as not to fall into things that can be detrimental and regret later. day. In addition, it can also be seen that the meaning of the song Nasib Bunga is wrapped using the "right" wording and symbols so that this song becomes a propaganda work that can be accepted by the community. Keywords : Nasib Bunga; Meaning; Lyric; Semiotics; Michael Riffaterre

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Verosky, Niels J. "Essen as a Corpus of Early Musical Experience." Empirical Musicology Review 17, no. 2 (November 9, 2023): 154–64. http://dx.doi.org/10.18061/emr.v17i2.9266.

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Statistics derived from the Essen Folksong Collection have widely been used as a proxy for general stylistic norms familiar to Western listeners. Since the specific facets of contemporary musical experience best modeled by a corpus of nineteenth-century European folksongs remain ambiguous, this study tests whether Essen-like music might be familiar to North American listeners through common children’s songs. Comparison with a corpus of 38 English-language children’s songs highly popular in North America finds that scale degrees from Essen and the children’s song corpus have near-perfect correlations in frequency profiles as well as high to very high correlations in tonal expectations and 4-grams. Profiles of scale degrees’ downbeat probabilities and average durations have moderate to high correlations for the diatonic but not the total chromatic. Overall, profiles of scale-degree behavior from the children’s song corpus match profiles from Essen more closely than do profiles from another corpus of music widely familiar to contemporary listeners (Billboard Hot 100 songs) and similarly closely as a corpus of nineteenth-century common-practice German vocal music (Schubert songs). For contemporary North American listeners, studies relying on Essen might plausibly be reinterpreted in terms of Essen acting as a corpus of early musical experience although the generalizability of Essen-derived statistics likely depends on the precise statistics being measured.

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Briand, Michel. "Mouvement, regard et son dans la Newest Sappho." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 13–48. http://dx.doi.org/10.1163/22129758-12341376.

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Abstract In Greek Archaic poetry song, dance, music and text interact through multisensorial emotions (empathy, pleasure) and synaesthesias (sound/sight/movement), represented and perceived in textual devices and real or imaginary performances. In a group of poems in the Newest Sappho (frs 15, 16, 16a, Kypris Song) eros prevails, connecting the audience/readers and ego, as feeling, thinking, and acting subjects. Frs 9, 17, 18, and the Brothers Song are more about public rituals, journeys, and family relations. Fr. 5 is composite: impulses of love share characteristics with addresses to deities or parents. These texts all have a unique sound-and-dance style, as confirmed by Sappho’s frs 1, 31, 44-44a, 58-59, 94, and this sensorial approach may support a transdisciplinary and sensitive conception of philology, by enhancing our appreciation of poetry as embodied experience: simultaneously emotional, aesthetic, cognitive, and intersubjective.

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Nikitina, Alexandra. "The Song of Ouyang Hai." Archiv orientální 83, no. 1 (May 15, 2015): 117–36. http://dx.doi.org/10.47979/aror.j.83.1.117-136.

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This article sets out to analyze the novel The Song of Ouyang Hai by Jin Jingmai (1965), and to do so within the paradigm of poststructuralist literary criticism. The deconstruction of the text helps us to discover its intertextuality and simulacra and to reveal the contradictions between the author’s ideas and the image of the protagonist as actually presented to the reader. Through reference to intertextuality, we see that Ouyang Hai is incapable of thinking and acting independently, he is guided by set phrases and behavior patterns that he has gleaned from Communist literature. Slogans that pervade his speech do not represent real actions, but only simulate them, thus creating a hyperreal environment filled with signs that do not have a prototype in real life, i.e., simulacra. Ouyang Hai’s maturation, as he acquires political and ideological consciousness is, in the author’s opinion, the process of his evolution. I argue that, on the contrary, this transformation leads to the destruction of the image, which is mostly constructed of propaganda slogans. The image constituting the mere sum of these artificial elements is no longer an integral whole, it breaks down into its elements – destructs, dismantles, defragments itself. Finally, Ouyang Hai is not a copy of a real human being, but – in J. Baudrillard’s words – “its own pure simulacrum.”

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Ni Made Asri Suwandesi, Ni Made Ratminingsih, and Kadek Sintya Dewi. "Implementing English Kids’ Song Media to Improve Students’ Vocabulary Achievement." Jurnal Pendidikan Bahasa Inggris undiksha 10, no. 2 (November 16, 2022): 180–86. http://dx.doi.org/10.23887/jpbi.v10i2.54028.

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A song becomes a great English learning media in enhance students English skill, especially vocabulary achievement. This study was conducted to improve students’ vocabulary achievement through English kids’ song media in the first academic year. The subjects of this study consisted of 33 fifth-grade students. This study employed Classroom Action Research (CAR). The research design used in this study was a collaborative classroom action research, which means that the researcher collaborated with the real fifth-grade teacher as a collaborator and an observer. This study consisted of two cycles. Each cycle is consisted of two meetings that contained four phases; planning, acting, observing, and reflecting. The data for this study were acquired through observation, post-tests, and interviews. The result of the observations showed that all aspects of the observation checklist were fulfilled and completed well by the researcher in each meeting in the first and second cycles. The improvement could be seen in the increase of students’ mean scores from 64 in the preliminary study, 72 in the first cycle, to 79 in the second cycle. The result of the interview showed that all students gave positive responses to the implementation of English kids’ song media to improve students’ vocabulary achievement in teaching and learning process. Moreover, English kids’ song can be an alternative media in teaching and learning vocabulary.

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Primasari, Yusniarsi, and Winarsih. "A Improving The First Year Students’ Vocabulary Skill Using Song at SDN Mojoagung 3, Prambon, Nganjuk in the Academic Year 2021/2022." JOSAR (Journal of Students Academic Research) 8, no. 2 (September 28, 2022): 86–94. http://dx.doi.org/10.35457/josar.v8i2.2405.

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Vocabulary is one of the important components of language that must be taught to the students of Elementary School. It is usually taught in relation to four other language skills (listening, speaking, reading, and writing). The vocabulary teaching using song is very effective because children like to sing a song. Based on the preliminary study, the students who passed the test were 57% and 43% were unsuccessful. It indicated that the student's achievement was low because they did not know the English name for anything about “Happy Birthday”. This problem makes the students lack motivation in learning English. Therefore, this study aimed to improve the students’ vocabulary skills using songs. The design of this research is a Classroom Action Research. There are two cycles in this research, namely Cycle I and Cycle II. Each cycle consists of four steps: planning, acting (implementing), observing, and reflection. This research took two cycles because it's impossible to improve students’ vocabulary mastery it only took one cycle and also useful to compare the result of the test. The criteria of success of this research if there were that 75% of students scored 60 or higher. The result of the study showed that the number of students in the passing grade (60) has increased. The students who got 60 and more were 57% in the preliminary study. After being taught by song, the students who got 60 and more increased to 71%, and in cycle II increased to 85%. The improvement could be gained when the student's performance during the learning-teaching process was satisfied. The classroom situation was enjoyable and the students were active during the learning-teaching process. The materials given were suitable for the lessons, attractive, or caught the students’ attention and contextual. Based on the research analysis as explained above, the researcher concludes that teaching vocabulary through song effectively improves the students’ vocabulary mastery.

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Junaid, Syahruni, M. Dalyan, Syarifuddin ., Mastang ., Muhammad Akbar Nur Rasyid, and Muhammad Ashhabul Yamiin. "Unveiling the Structural Layers: An Interpretation of Kath Walker's 'A Song of Hope." Journal of Ecohumanism 3, no. 3 (July 6, 2024): 781–97. http://dx.doi.org/10.62754/joe.v3i3.3433.

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This research analyzes "A Song of Hope," a poem by Kath Walker, through a structural approach that meticulously examines each element of the poem to serve as a benchmark for interpretation. The study delves into the intricate structure, language, and stylistic devices employed by Walker, highlighting how these components collectively convey profound themes of freedom and hope. The researcher, acting as the primary instrument, uncovers the poem's deeper meanings and implications, particularly for the Aboriginal people of Australia. The poem eloquently expresses their enduring hopes for a brighter future, encapsulated in Walker's poetic style that subtly yet powerfully communicates their struggles and aspirations. Kath Walker, known for her career as a poet, political activist, and environmentalist, infuses her personal experiences and perspectives into her literary work. Her expertise and background as an Aboriginal woman lend authenticity and depth to "A Song of Hope," making it not just a piece of literature but a realistic and compelling narrative that resonates with readers. Through this structural analysis, the research underscores Walker's ability to craft a vivid portrayal of the Aboriginal experience, bringing to life their collective yearning for freedom and a hopeful future. The poem's realistic impression is a testament to Walker's skillful blending of her cultural heritage with her literary talent, making "A Song of Hope" a significant and impactful piece of Australian literature.

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McGRAW, TED. "The McNulty Family." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 451–73. http://dx.doi.org/10.1017/s1752196310000386.

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AbstractThe McNulty Family was known as the royal family of Irish entertainers. They were the hottest Irish entertainment act on the East Coast, and perhaps in all of North America, from the 1930s through the 1950s. Ann “Ma” McNulty was the leader; her son Peter played the violin and piano, sang, and danced; and her daughter Eileen sang and danced. They also acted and performed skits to accompany their songs and comedy routines. Their shows were a high-energy, fast-paced type of vaudeville event. Ann Burke was born in Kilteevan, County Roscommom, Ireland, in 1887 and emigrated to the United States in 1910. She married John McNulty in 1914 and was a widow by 1928. This emigrant, who played the melodeon, and her two talented children started to entertain people to make a living. At the height of their career in the early 1940s, in addition to appearing at several venues every week, they had two radio shows, wrote a weekly column for the Irish Advocate newspaper, and had released about eighty recordings. Their vaudeville style was an excellent compliment to their talents, where acting and dancing were part of the delivery of a song or comedy routine.

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Sudaryanti, Sudaryanti. "Efektivitas Penanaman Nilai Karakter melalui Pembelajaran Menulis dengan Media Lagu." Ngaji: Jurnal Pendidikan Islam 2, no. 1 (May 25, 2022): 23–34. https://doi.org/10.24260/ngaji.v2i1.29.

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We must open our eyes to the less commendable behaviors that children often do. There is often a sense of concern to see it, even though they just want to express their ideas and feelings. Various efforts were made to minimize these impacts, including through learning in madrasas (schools). The education curriculum inserts character education in each subject. Likewise with Indonesian subjects. One of the basic competencies is writing poetry. In poetry, children can express their feelings and convey messages of humanity. This study aims to describe the application of song media in poetry learning, describe students’ activities in writing poetry and increase students’ skills in learning to write poetry with music and song lyrics.This study uses a Classroom Action Research (CAR) design with four stages of activity, namely planning, acting, observing and reflecting. The research was conducted in class VII A of MTs Negeri 2 Pontianak with 39 students consisting of 14 boys and 25 girls. Data collection techniques were carried out through observation by taking notes, recording, measuring and interviewing. Instruments used in the form of field notes, questionnaires, interview lists. From the results of research conducted in two cycles, it is known that music and song lyrics can improve students’ skills in writing poetry and students characters. Abstrak: Kita harus membuka mata terhadap perilaku-perilaku kurang terpuji yang sering dilakukan anak. Sering muncul rasa prihatin melihatnya padahal mereka hanya ingin mengekspresikan ide dan perasaannya. Berbagai upaya dilakukan untuk meminimalkan dampak tersebut diantaranya melalui pembelajaran di madrasah (sekolah). Kurikulum pendidikan menyisipkan pendidikan karakter pada setiap mata pelajaran. Demikian juga dengan mata pelajaran Bahasa Indonesia. Satu di antara kompetensi dasar adalah menulis puisi. Dalam puisi anak dapat mengekspresikan perasaannya dan menyampaikan pesan kemanuasiaan. Penelitian ini bertujuan mendeskripsikan penerapan media lagu dalam pembelajaran puisi, mendeskripsikan aktivitas siswa dalam menulis puisi dan peningkatan keterampilan siswa dalam pembelajaran menulis puisi dengan musik dan lirik lagu.Penelitian ini menggunakan desain Penelitian Tindakan Kelas (PTK) dengan empat tahap kegiatan yakni planning, acting, observing dan reflecting. Penelitian dilaksanakan di kelas VII A MTs Negeri 2 pontianak dengan siswa sebanyak 39 terdiri atas 14 putra dan 25 putri. Teknik pengumpulan data dilakukan melalui pengamatan dengan mencatat, merekam, mengukur dan wawancara. Instrument yang digunakan berupa catatan lapangan, angket, daftar wawancara. Dari hasil penelitian yang dilakukan sebanyak dua siklus diketahui bahwa musik dan lirik lagu dapat meningkatkan keterampilan siswa dalam menulis puisi dan karakter siswa. Kata Kunci: menulis puisi, karakter, media lagu

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Clark, Maribeth. "The Body and the Voice in La Muette de Portici." 19th-Century Music 27, no. 2 (2003): 116–31. http://dx.doi.org/10.1525/ncm.2003.27.2.116.

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This article explores changing attitudes toward actors' bodies at the Paris Opera through the performance history of D. F. E. Auber's opera La Muette de Portici from 1828 to 1879. Because a mime performed the role of Fenella and the chorus played an active role in the mise en scene, the opera placed unusual emphasis on the physical. Over this period, however, emphasis shifted from appreciation of acting to emphasis on singing. For example, during the tenor Adolphe Nourrit's tenure at the Opera critics admired his skill as an actor in the role of Masaniello. When replaced by Gilbert Duprez in 1837, critics praised the tenor's vocal power and lack of emphasis on the histrionic. During this same time, critics began to interpret the gestures of the mime playing Fenella as semantically empty, and her body as filling a space that a singer should occupy. The important role that the barcarolle plays in the opera allows in part for these transitions. Viewed as a chanson napolitaine, it accentuates the rocking of a boat and the physical body at work; however, interpreted as the song of a Venetian gondolier, the song emphasizes the enunciation of a singing voice at the expense of the body. Reviews of La Muette reflect this ambivalence toward performance styles that call attention to the body, particularly those that might be interpreted as belonging to the working classes.

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Rambing, Christy C., Maya P. Warouw, and Ivan R. B. Kaunang. "Physiological Motivational Meanings of Farmer's Chant 'Amang Kasuruan' During the Cap Tikus Production (Semiotic Analysis, Ethnolinguistic Approach)." Edumaspul: Jurnal Pendidikan 7, no. 2 (October 1, 2023): 5100–5110. http://dx.doi.org/10.33487/edumaspul.v7i2.7121.

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The cultural legacy holds a position of utmost richness in the collective human society. It manifests in diverse forms, with cultural traditions displaying unparalleled uniqueness across regions. These distinctive traits, deeply ingrained in the societal fabric, are exemplified by various customs, including the reverence for indigenous languages expressed through song. The significance of regional languages, especially in indigenous or cultural musical compositions, profoundly influences the everyday lives of communities. North Sulawesi, with its diverse tribes, epitomizes a cultural mosaic characterized by rich mores and customs. Among these, the South Minahasa tribe prominently utilizes the Tountemboan language as a linguistic emblem. This vernacular permeates daily discourse, not only in conversations but also resonating within the verses of songs and chants, inseparable from their artisanal endeavors. This study explores the motivational significance embedded in folk songs utilized during the intricate process of crafting Cap Tikus, a cultural artifact interwoven with the region's agricultural pursuits. The amalgamation of labor and lyrical expression in this context provides an intriguing subject for investigation, acting as a catalyst for instilling enthusiasm and fortitude among farmers, particularly those dedicated to cap tikus cultivation. Methodologically, the research employs a descriptive qualitative approach following Spradley's framework. It is supplemented by Semiotic analysis, drawing from Ferdinand Saussure's perspective on signs in the social milieu. Additionally, the study integrates Abraham Maslow's theory of motivational needs, outlining a hierarchical structure that encompasses physiological or basic needs. The explication of motivational underpinnings, ensuring the fulfillment of basic needs, unfolds through the impassioned rendition of folk songs during the cap tikus farming process. In essence, this research reveals the profound layers of motivation inherent in the ritualistic singing of folk songs, elucidating their role as markers and signifiers within the lyrical fabric. The comprehensive explication of these motivational meanings serves as a testament to the intricate interplay between cultural expressions, agricultural practices, and the fulfillment of fundamental human needs.

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Schoop, Monika E. "Introduction to the special issue." Popular Music History 16, no. 1-2 (March 5, 2025): 5–15. https://doi.org/10.1558/pomh.32884.

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Popular music constructs, negotiates, and circulates representations of the past, thereby conveying historical knowledge and contributing to our understanding of the past. In short, popular music writes and rewrites history. Building on the notion that history constitutes an interpretation of past events strung together via narrative, the issue examines the critical role of popular music in constructing and negotiating historical narratives. By analyzing musical examples through various disciplinary and interdisciplinary lenses and drawing from a range of geographical contexts, including Italy, the Netherlands, Nigeria, the Philippines, the United States, and Uruguay, this issue contributes to an understanding of how music narrates the past through lyrics, musical motifs, song structure, genre, sound effects, images, intertextual references, musical instruments, as well as performative practices acknowledging the body as a means of ‘acting out’ of or ‘singing history’. Ultimately, the contributions suggest that history is not a chapter that is closed once it has been written. Instead, the articles demonstrate that when writing and rewriting history through popular music, the past is continually (re)negotiated, actively informing our present and taking a vital role in shaping our future.

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Swarnakar, Namrata. "SUSTAINABLE DEVELOPMENT THROUGH ART: GLOBAL SCENARIO." SCHOLARLY RESEARCH JOURNAL FOR INTERDISCIPLINARY STUDIES 9, no. 69 (October 31, 2021): 16544–55. http://dx.doi.org/10.21922/srjis.v9i69.10054.

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Art and culture are the centre of development. Art is playing an enormous role in shaping the life and missions our cultural visions and aspirations of office society. Art is essential for cultural understanding and hence Global sustainability. Yet any significant sustainability initiative is related to the individual level. Both art and sustainability are processes that can lead to a creative outcome. Sustainability rests on the notion that individuals have to be both conscious of our place on the planet and embrace the values that enable us to leave sustainability at the individual level. Art can help people to become conscious of the state of our planet and assist in negotiating the values that will support sustainable living while working on environmental issues authentically as an artist one can find different ways to engage people when artists are able to show the integrity of their art and find ways to interweave the artistic that into a movement and to be validated and respected for it that is sustainability. Art is a model for sustainability because the basic values in art stem from the desire to communicate meaningful experiences that resonate over time. Even fleeting fugitive and Temporary experiences endure . A Dance, song, a vision becomes embodied and remembered, Re -communicated, recycled and re- embraced. Creativity and art is a model for sustainability because the basic values in art stem from the desire to communicate meaningful experiences that resonate overtime. If sustainability is a movement towards long-term well being acting now so as to impact a better future then it is a natural partner . One of the most important factors to affect contemporary art has been cultural and economic globalization. Increasingly International art exhibitions draw their contents from all over the world and artists address a wide range of subjects relating to this developing situation . Globalization changes the way Nations businesses and people interact specifically it changes the nature of economic activity among Nations expanding trade opening Global supply chains and providing access to natural resources and Labor markets.

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RAJ, PRITHVI, and DR R. M. JHA. "ARISTOTELIAN CONCEPTS: A STUDY OF TRAGIC VISION." Think India 22, no. 3 (September 27, 2019): 688–92. http://dx.doi.org/10.26643/think-india.v22i3.8371.

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At first, Aristotle defined tragedy in Poetics around 330 BC. All other decisions related to tragedy followed by Aristotelian concept. Aristotle says, "Tragedy, then, is an imitation of a noble and complete action, having the proper magnitude; it employs language that has been artistically enhanced …; it is presented in dramatic, not narrative form, and achieves, through the representation of pitiable and fearful incidents, the catharsis of such incidents.” Several of these terms require explanation. "Imitation" (mimesis) does not refer wholly to acting out something on stage. Aristotle recognizes many forms of imitation including epic poetry (Homer), painting, song, and dance. “Noble, does not mean that the characters are necessarily of high moral standing or that they must always be kings, heroes, or gods: the title character of Euripides' Medea is a wicked sorceress who kills her own children. According to Hardison, the term could be translated as larger than life, majestic, or serious”. [4]

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Lei, Lih-Wei, and Cheng-Fang Huang. "Learning english through musicals: a case study of social economically disadvantaged aboriginal students in Eastern Taiwan." International Journal of Humanities and Arts Computing 6, no. 1-2 (March 2012): 204–10. http://dx.doi.org/10.3366/ijhac.2012.0049.

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This study explores the possibility of using musicals to teach English with instructional VCD for following practice, and investigates whether it helps social economically disadvantaged aboriginal students overcome their difficulties with English and enhance their learning motivation. A series of surveys and interviews were conducted to investigate the influence of this intervention. The results showed that about 90 per cent of responded students in the intervention group considered learning English through musical interesting and it helped them to be more confident in English. About 80 per cent of students indicated that they would actively practice English through ways such as imitating singers to sing an English song. About 60 per cent of students felt more comfortable speaking English loudly and were less afraid of talking to others in English. Further comparison show that there was a significant difference between students who participated (n=39) and who didn't participate (n=15) in the English musical programme. Only about 60 per cent of those in the control group would actively learn English. Being unaware of the English musical programme, only half of the students considered learning English through acting interesting. The results of this exploratory study show musicals can provide the opportunity for the students to use language meaningfully and appropriately. The use of drama activities in second language learning helps the learners to be more imaginative, creative and less frustrated as they become more confident in the process of learning English as a second language.

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Hopwood, Nick. "How poetry and song can grapple with the dialectics of crisis and agency, and become tools for transformative research." Outlines. Critical Practice Studies 25 (July 19, 2024): 1–26. http://dx.doi.org/10.7146/ocps.v25i.141286.

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Activist scholarship inspired by a cultural-historical tradition often seeks to foster agency with people facing crisis. The aim is to develop new understandings and bases for action that can help people break away from the status quo and change what is possible. Cultural-historical theory understands crisis and agency dialectically, linking both to individual and social transformation. Dialectic understandings of crisis foreground breakdown and renewal. Dialectic understandings of agency foreground personal contributions with social consequence and contingency. I argue that these understandings are crucial as a point of departure in research where we stand alongside others on grappling with matters of equity and justice. However, establishing these as a shared basis for resisting, reimaging and rebelliously acting is not straightforward and requires countering dominant neoliberal framings. Arts-based forms have significant potential to enable precisely such disruptive thinking. The line ‘Dance on the shark’s wing’, opens a poem by Nikos Kavadias, bluring the lines between the real and the imagined, the fearful and the possible. ‘No One Is Alone’, a song from Sondheim’s ‘Into the Woods’, tells a story of how individual interest is overcome through collective wisdom and consequential action. These examples are discussed as potential transformative tools that could provoke and support collective radical imagination based on coherent understandings of individual agentic contributions to collective struggles. An argument is presented to embrace arts genres as means to destabilise engrained ways of thinking about crisis and agency, thus strengthening collaborative efforts in activist research

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Watt, Paul. "Marie Lloyd (1870–1922) and Biographical Constructions of the Nineteenth-Century Female Superstar." 19th-Century Music 44, no. 2 (2020): 119–30. http://dx.doi.org/10.1525/ncm.2020.44.2.119.

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Marie Lloyd (1870–1922) was a vocal superstar of the late nineteenth century. With tens of thousands of ardent followers in Britain and America—and an income that eclipsed even what Adele Patti and Nellie Melba earned—Lloyd was a vocal sensation. Biographers of the prima donna, the female vocal celebrity, are often quick to turn their subjects into heroines through the conferment of appellations such as “The Swedish Nightingale” (for Jenny Lind), “The Queen of Song” (Adelina Patti), and “The Voice of Australia,” in the case of Nellie Melba. Marie Lloyd was also bestowed a heroic title, but in an entirely different milieu: “Queen of the Music Hall.” This article probes the varied reasons—and ambiguities—of this appellation in biographical constructions of Lloyd, especially in relation to the dexterity of her voice that was arguably more varied in its scope than most of her operatic peers. Lloyd's biographers provide disembodied narratives of her career and achievements, since they have virtually nothing to say about the extraordinary range and versatility of her voice. With the aid of historic recordings it is possible to finally make an estimate of Lloyd's technique, and the results are surprising: she was no mere music-hall singer. Lloyd's voice and acting encompassed techniques ranging from eighteenth-century melodrama to nineteenth-century diseuse, allowing for an alternative reading of Lloyd's reputation as Queen of the Music Hall and the varied range of singing found in this institution.

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Adnan Ahmed Aladhami, Noorulhuda. "An Overview Concerning the Monologue and Stand-up Comedy." Arab World English Journal For Translation and Literary Studies 8, no. 1 (February 15, 2024): 112–21. http://dx.doi.org/10.24093/awejtls/vol8no1.8.

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A theatrical production is usually seen as a blending of acting, dancing, singing, and spoken conversation, known as musical theatre. Furthermore, a musical’s storyline and emotional elements, which include humour, sorrow, love, and wrath, are communicated through words, music, dance, and technical aspects of the performance. ‎This paper explores the similarities and differences between two dramatic performances: stand-up comedy and monologue. The significance of this paper is to examine the gap in dramaturgical history to link between different forms of performances concerning the past and the present time, such as the link between stand-up comedy and a monologue. The quest has provided a vibrant resemblance to say that stand-up comedy is a natural evolution of a monologue presented with modern styles and ideas. The performer, whether a comedian or monologist, is mostly perceived to express a performer’s thoughts clearly, though occasionally directly addressing another character or spectators. The show in both performances requires a rhetorical act, where a crowd interface is used as part of their set or practice. Finally, a solo performer can be called a monologist or stand-up comedian, whether found on stage, television, or written verse, who presents their art to entertain or deliver a definite message to an active or passive spectator. The content usually takes the shape of a song or sarcastic speech that may start with a personal memory of the presenter, considered a public or common issue in society.

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Burlaka, Anna. "Stage image of a pop singer as a factor of promotion in the music industry." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 11, no. 22 (2021): 17–23. http://dx.doi.org/10.34079/2226-2830-2021-11-22-17-23.

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The music industry is a part of modern culture, which integrates labels and companies that organize concert activities. A composer, arranger, and later a performer are involved in the process of creating a piece of music. Also the producing agencies take part in the process of creating music product. Promotion of music products (audio and video recordings), its rotation in the media, and organization of festival and concert events is a part of music industry. In the article analyzes the stage image of a pop vocalist through the prism of one of its basic elements - the creative personality of the singer. Thanks to the efforts of a team of image-makers and producers working on the stage image of the performer, the singer's image influences his advancement in the music industry. At the same time, the stage image directly depends on the personal and professional characteristics of the performer. The formation of the image is influenced by fictional figurative features of the character of the performed work, facial expressions, makeup, hairstyle, body sculptures at the time of the stage performance. Selection such external visual factors, as the choice of costume, the specifics of stage behavior due to the task of forming an attractive "product". There is a dependence on the genre of the work and individualized selection of repertoire, acting talent and skill, acting personality, ability to dramatize a song, communicate with the audience, sing on any stage (universality), individual tone of voice and pronounced stage charm and charisma. The stage image of the performers reflects the needs of the target audience and is able to promote music products in the modern media market. The performer's activities aimed at advancing in the music industry should be one that takes into account the experience of previous generations and the example of modern representatives of the music industry, which provides a lot of useful information that can be taken into account in creating a unique stage image. On the way to developing a special and individual stage image, any performer should pay attention to the following components: the desire to be bright and not be afraid to experiment; a clear understanding of the main purpose of his performance and his

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Setiawan, Joe Harrianto, Santi Indra Astuti, Rawi Diwangkara, and Daniari Setiawati. "Involvement of State Officials As Cast of Characters in Folk Theater Ketoprak RRI Yogyakarta." Gondang: Jurnal Seni dan Budaya 8, no. 1 (June 1, 2024): 73. http://dx.doi.org/10.24114/gondang.v8i1.57504.

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Ketoprak is a traditional Javanese performing art that incorporates elements of karawitan, dance, comedy, song, acting, and artistic arrangements. Traditional art is divided into two types, such as folk art and classical art, or palace art. Ketoprak is a folk art that has its origins among the people who live outside the palace. As a folk art, ketoprak is also used to communicate to the authorities issues that the people are concerned about. Criticizing through the performing arts is a powerful way to express criticism without taking offense. Ketoprak is usually performed by a group of artists on stage. However, in recent years, ketoprak performances have been performed not only by community performer groups but also by state officials taking the cast of characters on stage. The involvement of state officials at all levels, from regional to ministerial, as well as guest stars and main characters. Including those carried out under the RRI Yogyakarta ketoprak program. The descriptive qualitative research method was used to figure out how the implementation of the ketoprak program at RRI can preserve ketoprak's dignity as a folk theater, despite the fact that it is represented by state officials, by conducting interviews with program producers and respected ketoprak performers from Yogyakarta. The study's findings show that in its development, ketoprak was divided into two forms, conventional ketoprak which was standard with rules or pakem that were still preserved by RRI Yogyakarta and ketoprak garapan which is open to be interpreted in various ways and is free to be casted by anyone, including officials who are performed in the live version of the RRI Ketoprak Program.

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Sinka, Krisztina. "Musical Symbols in the Opera The Three Sisters by Péter Eötvös." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 65–72. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.05.

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"Opera, as a stage and acting genre, also uses theatrical elements (costumes, dramaturgy, etc.) to convey the work. Opera composers typically use musical symbols as well. I collected these devices of Péter Eötvös’ best-known opera in my study based on literature research. Dramaturgically divided into three sequences, the work always examines its relationship with the other two central figures from the point of view of the central figure of the given part. One of the musical cornerstones of this is changing the internal relationships of triads. The two extreme notes of the triad are always constant (distance of a fifth), but the note located between them characterizes not only the quality of the chord, but also the state of the character connected to it. The unstable balance and reorganization of relationships is well represented by this construction principle. The author also uses the third-parallel, known since Mozart, as a classical musical representation of love. The choices of instrument also have symbolic power. The Prozorov family is represented by the group of woodwind instruments. A kind of irony on the part of the author is the use of cow bells to depict the behavior of the disgusting and unbearable Natasha. Soldiers are naturally represented by brass. Although Solioniy is a soldier, he is not accompanied by brass instruments, but by percussionists, hinting at his personality. The characters speak in different ways of the human voice. From prose to sung speech through to the melodies, there are all kinds of expressions of emotion. Keywords: Péter Eötvös, opera, Three Sisters, libretto, musical symbolism, triad, third-parallels, instrumental symbolism, prose, sung speech, song "

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Žukauskienė, Odeta. "Dainų šventė kaip kultūrinės atminties veikmė." Lietuvos kultūros tyrimai 7 (2015): 78–93. https://doi.org/10.53630/lkt.2015.5.

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This article considers the tradition of Lithuanian Song and Dance Celebration as a multifaceted phenomenon through the prism of contemporary cultural discourse. Following the French philosopher Michel de Certeau the author examines Lithuanian Song Celebration as a modern cultural phenomenon, which shapes collective representations of the past and imports traditional cultural heritage into cities. Song Celebration is also defined as a site of memory (lieux de mémoire) significance of which is outlined by the French historian Pierre Nora, and which is used to strengthen national authority and promote patriotism. It is also examined as a practice of cultural memory (kulturelles Gedächtnis), which helps to reconstruct cultural identity and foster self-reflexive processes, as the German researchers Jan and Aleida Assmann claim. However, it is observed that in recent decades global memory projects integrate similar memory practices around the world in transnational networks. Besides, the context of a very intense visual culture, multitude of festivals and spectacles requiring revision and actualizing of the song celebration concept, which should let to speak openly and boldly about the interpretation of traditional culture and folklore, its contemporary expressions, without turning it into the object of consumption and finding original ways to open up the deep contents of ethnic culture.

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Fedenko, A. "The specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 90–102. http://dx.doi.org/10.34064/khnum2-17.06.

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Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musicals and rock operas raises an urgent need for its consideration. Phenomenological analysis of the vocal and stage creativity of the actress Nataliya Sumska, namely, her stage works in rock operas “Eneida by Serhii Bedusenko based on the poem-burlesque by I. Kotliarevsky, “Bila Vorona” “(The White Crow”) by Genadii Tatarchenko and Yurii Rybchynskyi and “Nezrivnianna” (“The Incomparable”) Musical, based on the famous play by Peter Quilter (the composer Ivan Nebesnyi) are the material of this study. Objectives. The purpose of the article is to investigate the performing principles and vocal techniques that contribute to the embodiment of contentemotional female images characteristics in contemporary musicals and rock operas on the example of Nataliya Sumska’s acting creativity. The results of the study. The success of the Nataliya Sumska stage activity is closely related to the actress’ high level of vocal skills. Didona’s role in the rock opera “Eneida” has required from the performer a whole range of professional skills, first of all, vocal – that is, acting universalism. The vocal and stage image created by Nataliya Sumska is realized through singing, which organically combines the traditions of folk-song performance with the best achievements of the national academic and variety performing arts. The dominance of “folk” color in the sound of the voice is one of the creative tasks that the author of the rock opera sets before the actress. The bright individual “synthesizing” vocal and performing style is the original combination of ethnic origin with jazz and pop rhythms and harmonies offered by the composer, made the unique image of Didona by N. Sumska’s performance. Thus, a perfect actress’s mastery of different singing styles and the ability to use her own voice to achieve high artistic output is of great value, as composers in rock operas and musicals are constantly performing acts of styling. In the role of Jeanne d’Arc from the Ukrainian rock opera by Genadii Tatarchenko and Yurii Rybchynskyi’s “Bila Vorona” (“The White Crow”) the main features of N. Sumska’s art were clearly revealed, such as: great tragedy, heroic pathos and pathetics combined with lyric scourge and poetic sorrow. The stage techniques, by which N. Sumska created the image of Jeanne, were: enhanced sound supply and high dynamic tone of performance, expedient use of registers, expanded palette of sound dynamics and its filing (“filer un son”); going beyond the range of sound characteristic of academic vocal performance, the use of different singing styles and techniques; skillful presentation of intonation recitation gradations (from whisper to cry); possession of sound amplification equipment; maintaining a vocal line, subject to any nature of sound production; finally, acting is the ability to convey the character of the heroine through the voice, facial expressions, gestures, to make the viewer feel the pain and joy of her soul. Thus, Nataliya Sumska is fully capable of using the necessary means of artistic expression, various methods of performance, revealing the semantic and emotional content of the stage image and the work as a whole. In the “Nezrivnianna” (“The Incomparable”) Musical Nataliya Sumska embodied the comedic image of an American pianist who believed in her talent as an opera singer and one of the earliest representatives of “outsider music”. The actress brilliantly demonstrated that she was able to sing both “strictly past the notes” and only in “disgusting” voice, as her role required. She did not only change her voice for the horrific performance of operatic classics, but she was able to convey faith and belief in her own success to her Florence heroine. The actress was able to achieve great artistic power in the embodiment of the image, first of all, thanks to the mastery of vocal technique, as different modes of the larynx, specific techniques: conscious oscillation of sound, different attack power, accentuation of individual sounds, etc. Conclusions. Considered the creating specifics of vocal and stage image in contemporary rock operas and musicals by actress Nataliya Sumska, we came to the conclusion that vocal performance in modern rock operas and musicals poses special requirements for actresses. Modern musicals and rock opera demonstrate all possible polystylistic and polygenre syntheses, including the incorporation of folk and academic elements, and some genres of light music. The vocal part is complicated by changes in priorities in harmony, which is represented mainly by dissonant sounds. Accordingly, the melody of rock operas and musicals today is filled with unconventional unexpected intonations and lines, characteristic of metrorhythmic constructions. Conversational intonations, variety of singing manners and vocal techniques that form the basis of modern musical performances help to emphasize the emotional lines of the work. The presence of conversational dialogues, dance episodes with specific plasticity, the use of elements of the musical language of other cultures, a wide style range (from folklore to avant-garde, from Baroque stylings to jazz and smash hit), features of singing with a microphone – all this requires knowledge of specific acting and choreographic techniques, a good mastery of vocal technique, that is, all that constitutes professional acting universalism.

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Ahamad, Muhammad Affan, and Abdul Hamid Abu Bakar. "Pembelajaran Bahasa Melayu Berasaskan Projek untuk Meningkatkan Kemahiran Bahasa dalam Kalangan Murid Tahun Enam." International Journal of Language Education and Applied Linguistics 13, no. 2 (October 31, 2023): 53–68. http://dx.doi.org/10.15282/ijleal.v13i2.9398.

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Pembelajaran Bahasa Melayu Berasaskan Projek (PBMBP) merupakan pendekatan yang menekankan kemahiran berbahasa iaitu kemahiran mendengar, bertutur, membaca, dan menulis berdasarkan proses pelaksanaan bagi penghasilan produk. Reka bentuk kajian ini merupakan kajian tindakan yang melibatkan empat peringkat pelaksanaannya iaitu merancang, bertindak, memerhati dan merefleks. Instrumen kajian ini melibatkan kaedah pemerhatian secara langsung terhadap sampel kajian dan analisis dokumen. Dapatan kajian dianalisis secara deskriptif secara peratusan. Sampel kajian ini melibatkan seramai 28 orang murid tahun enam dari Sekolah Kebangsaan Sungai Jejawi, Teluk Intan, Perak. Tema bagi pelaksanaan PBMBP ini ialah “Pertanian dan Penternakan” berdasarkan buku teks Bahasa Melayu. Dapatan kajian mendapati semua kemahiran iaitu mendengar dan bertutur, dan membaca dan menulis mencatatkan purata peratus kenaikan tahap penguasaan murid yang terlibat. Melalui analisis dokumen yang dilakukan, kebanyakan murid dapat menghasilkan rumusan, memindahkan maklumat ke dalam bentuk grafik, menghasilkan karangan berformat dialog dan menghasilkan lirik lagu untuk dipersembahkan secara didik hibur. Kesimpulannya, PBMBP dapat meningkatkan tahap penguasaan murid dalam kemahiran berbahasa kerana mengutamakan kemahiran berbahasa sebagai medium proses penghasilan produk. Selain itu, PBMBP juga dapat memotivasikan murid untuk belajar secara aktif dan memupuk kerjasama ahli kumpulan untuk membantu rakan yang kurang mahir dalam kemahiran berbahasa melalui kaedah bantuan (scaffolding) selari dengan konsep konstruktivisme serta memberi keseronokan sewaktu belajar dalam kalangan murid kerana pada akhir projek dipersembahkan secara didik hibur melalui seni bahasa. Project-based Malay language learning (PBMBP)is an approach that emphasises language skills, including listening, speaking, reading, and writing, based on the process of producing products. This action research involves four stages of implementation: planning, acting, observing, and reflecting. The research instrument consists of direct observation of the study sample and document analysis. The research findings are analysed descriptively in percentages. The study sample comprises 28 sixth-grade students from Sungai Jejawi National School, Teluk Intan, Perak. The theme for the PBMBP is based on the Malay language textbook "Agriculture and Animal Husbandry." The findings indicated the pupils improved proficiency levels for listening and speaking, reading, and writing skills. Document analysis found that most pupils could produce summaries, convert information into graphical form, create dialogue-based essays, and compose song lyrics for entertaining presentations. PBMBP enhances pupils’ language proficiency by prioritising language skills as a medium for product generation. PBMBP also motivates pupils to learn actively and fosters the cooperation of group members to help friends who are less proficient in language skills through scaffolding in line with the concept of constructivism. At the end of the project, it provided fun while learning because it was presented educationally and entertaining through language arts.

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An, Wonyoung, Sung Ryul Choi, and Jun-Young Park. "Transition Metal Doped-Chalcogenide Based Electrocatalysts for Oxygen Evolution Reaction." ECS Meeting Abstracts MA2022-02, no. 64 (October 9, 2022): 2370. http://dx.doi.org/10.1149/ma2022-02642370mtgabs.

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Hydrogen, which possesses high gravimetric energy density, has recently received great attentions to respond to the seriousness of global climate change [1, 2]. In particular, the alkaline water electrolysis cells (AECs) that can produce hydrogen through electrochemical reactions without greenhouse gas emissions are substantially promising as renewable next-generation energy storage and conversion devices. In AECs, oxygen evolution reactions (OERs) occur at the anode, while hydrogen evolution reactions take place at the cathode [3, 4]. However, the sluggish kinetics of the multi-electron transfer process is a paramount challenge for efficient OER activity. Furthermore, precious metal catalysts such as iridium and ruthenium are still mainly used as an OER catalyst, and their low economic efficiency and durability are acting as major problems in the commercialization stage. Therefore, the reduction of reaction overpotential is crucial to boost catalytic efficiency for OER in AECs. In this study, the OER catalyst study is performed on sulfide-based chalcogenide materials. It has been reported that the sulfide-based chalcogenide materials have shown the excellent catalytic activity because the covalent characteristics between transition metal and chalcogenide is stronger than that of oxide-based catalysts [5]. In particular, among various sulfide-based chalcogenide materials, nickel sulfide-based catalysts have actively studied because they can simply synthesize using a hydrothermal method. Additionally, nickel sulfides have a structurally Ni-Ni metal bond that makes it easy to transfer charge species for OERs. Herein, various transition metals are doped into the nickel sulfide to improve the catalytic activity and electrical conductivity via generation of extra defects in the crystal structure. The crystal structure and catalytic activity of chalcogenide catalysts are analyzed through various physicochemical and electrochemical analysis methods. References [1] Hainan Sun, Xiaomin Xu, Zhiwei Hu, Liu Hao Tjeng, Jie Zhao, Qin Zhang, Hong-Ji Lin, Chien-Te Chen, Ting-Shan Chan, Wei Zhou, Zongping Shao, Journal of Materials Chemistry A 7 (2019) 9924. [2] Thomas E. Mallouk, Nature Chemistry 5 (2013) 362–363. [3] Muhammad Saqib, In-Gyu Choi, Hohan Bae, Kwangho Park, Ji-sup Shin, You-Dong Kim, John-In Lee, Minkyeong Jo, Yeong-Cehol Kim, Kug-Seung Lee, Sun-Ku Song, Eric D. Wachsman and Jun-Young Park, Energy & Environmental Science 14 (2021) 2472–2484. [4] Sung Ryul Choi, John-In Lee, Hyunyoung Park, Sung Won Lee, Dong Yeong Kim, Won Young An, Jung Hyun Kim, Jongsoon Kim, Hyun-seok Cho, Jun-Young Park, Chemical Engineering Journal 409 (2021) 128226. [5] Hatem M. A. Amin, UIf-Peter Apfel, European Journal of Inorganic Chemistry 2020 (2020) 2679–2690. Keywords: Oxygen evolution reaction, Alkaline electrolysis cell, Water splitting, Transition metal, Post-transition metal, Chalcogenide. * Corresponding author: jyoung@sejong.ac.kr (J. Y. Park)

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Marshall, Jason D., Yurong Song, Hamid Zarkesh, Rebecca L. Matthews, Chelsea Sanders, Simone Difilippantonio, Ligia A. Pinto, Shizuko Sei, and Robert H. Shoemaker. "Abstract 5562: Development of a TERT-specific peptide/adjuvant vaccine in C57BL/6 mice." Cancer Research 82, no. 12_Supplement (June 15, 2022): 5562. http://dx.doi.org/10.1158/1538-7445.am2022-5562.

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Abstract Telomerase plays a vital role in cell senescence and cellular replication and has been described as a leading regulator in several human cancers, including prostate, thyroid, breast, colon, and bladder cancer. Telomerase is responsible for elongating telomere length and prolonging cellular lifespan as well as acting as a transcriptional modulator in cancer signaling pathways. Because of its enhanced expression in primary tumor cells as well as incipient tumor-initiating stem cells and with limited distribution in normal somatic cells, the catalytic component of telomerase, TERT (telomerase reverse transcriptase), is regarded as a high-impact target for immunotherapeutic agents and vaccines. In order to derive a mouse TERT (mTERT)-specific vaccine which could be useful in a preventive approach, we implemented an epitope-mapping stratagem by which pools of 30-mer peptides overlapping by 5 spanning the entire mTERT sequence were used to immunize C57BL/6 mice. Several immunogenic peptides were identified by matrixed peptide pool IFN-ɣ ELISPOT screening in a 2-part process that first identified positive pools, then identified individual peptides. 15-mer and 31-mer versions of the top 7 immunogenic mTERT peptides were synthesized and used as a peptide pool combined separately with several adjuvants to optimize immunogenicity. Results suggested a peptide sequence-specific preference for TLR3-mediated Hiltonol versus TLR9-mediated CpG-based adjuvants. In addition, the majority of T cell responses specific to the TERT peptides was identified through flow cytometry as belonging to the CD4 compartment, although one class I-restricted epitope was also identified. Multifunctional CD4+ T cells expressing IFN-ɣ, TNF-α, IL-2, and CD107a were identified specific to several mTERT peptides. In vivo cytotoxic effects exerted on TERT peptide pool-loaded target cells were also uncovered that were specific to a CpG-adjuvanted version of the vaccine. Finally, multiple versions of the mTERT peptide/adjuvant vaccine with highest immunogenicity scores are being tested in a syngeneic graft mouse model using subcutaneous implantation of lung cancer-derived SPON10 cells expressing mTERT. If proven efficacious, these results will support the feasibility of a TERT peptide/adjuvant approach for prophylactically engendering broad antitumor immunity to TERT-expressing cancers. Funded by NCI Contract No. HHSN261200800001E Citation Format: Jason D. Marshall, Yurong Song, Hamid Zarkesh, Rebecca L. Matthews, Chelsea Sanders, Simone Difilippantonio, Ligia A. Pinto, Shizuko Sei, Robert H. Shoemaker. Development of a TERT-specific peptide/adjuvant vaccine in C57BL/6 mice [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 5562.

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Gavin, Marc, Tsadik Habtetsion, Christie Mortales, Hayley Ma, Aniruddh Saxena, Mikaela Rusnak, Jing Song, et al. "Abstract 6073: IDP-002 is a PD-1xCD6 bispecific antibody that enables complete PD-1 receptor occupancy and enhances cytotoxic over regulatory T cell responses." Cancer Research 85, no. 8_Supplement_1 (April 21, 2025): 6073. https://doi.org/10.1158/1538-7445.am2025-6073.

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Abstract High response rates observed with PD-1/L1 antagonists have advanced immunotherapy to the forefront of treatment options for multiple cancer types; however, a substantial proportion of partial and non-responders warrants development of novel and more effective approaches. Poor responses to current PD-1/L1 antagonists may result from incomplete receptor occupancy, partial reversal of T cell exhaustion, and proliferative responses in PD-1+ FOXP3+ immunosuppressive regulatory T cells (Tregs) which will suppress anti-tumor effector T cell responses. Importantly, the recently demonstrated superiority of the PD-1xVEGF bispecific antibody (bsAb) ivonescimab over pembrolizumab in PD-L1+ advanced NSCLC suggests greater PD-1 receptor occupancy (achieved through high-avidity PD-1 binding of ivonescimab/VEGF multivalent complexes) leads to significantly deeper clinical responses. Enhanced PD-1 receptor occupancy may also be achieved with cis-acting bsAbs that target PD-1 and an abundant T cell surface protein, enabling more efficient PD-1 blockade compared to that achieved with conventional mAbs. Furthermore, candidate co-targets can be evaluated not only by expression level, but also for co-stimulatory capacity and differential cell subset expression. For example, low co-target expression on Tregs or co-target signaling that attenuates Treg fitness would skew PD-1 antagonist activity towards effector T cells and reduce therapy-induced Treg responses. Here, we present IDP-002, a PD-1xCD6 bsAb that facilitates complete PD-1 receptor occupancy and promotes greater proliferative and cytotoxic responses in vitro and in tumor-bearing humanized mice compared to current PD-1 antagonist mAbs. Tregs, which express lower levels of CD6, proliferate less efficiently than effector CD4 and CD8 T cells in response to IDP-002. Enhanced effector T cell responses observed with IDP-002 derive from a combination of complete PD-1 blockade and the engagement of unique signaling pathways downstream of CD6. IDP-002 has the potential to become a leading therapeutic option for the next generation of PD-1 antagonists. Citation Format: Marc Gavin, Tsadik Habtetsion, Christie Mortales, Hayley Ma, Aniruddh Saxena, Mikaela Rusnak, Jing Song, Ben Setter, Robert Gene, Heath Klock, Carina Xu, Ertan Eryilmaz, Pamela Holland, Scott Lesley. IDP-002 is a PD-1xCD6 bispecific antibody that enables complete PD-1 receptor2 occupancy and enhances cytotoxic over regulatory T cell responses [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2025; Part 1 (Regular Abstracts); 2025 Apr 25-30; Chicago, IL. Philadelphia (PA): AACR; Cancer Res 2025;85(8_Suppl_1):Abstract nr 6073.

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Poon Chiew Hwa and Cheong Ku Wing. "Engaging Seniors with Dementia through Music and Movement." Wacana Seni Journal of Arts Discourse 23, Supp. 1 (November 29, 2024): 14–24. http://dx.doi.org/10.21315/ws2024.23.s1.2.

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Music and movement activities are widely recognised for enhancing the well-being of patients with dementia, yet specifics regarding session content are often lacking in discussions. This paper investigates the effectiveness and suitability of content within music and movement sessions through action research employing two cycles of planning, acting, developing, and reflecting. Session content includes planning, strategies, physical movements, and music selections. A series of eight 45-minute sessions were conducted for a group of 10 to 15 dementia patients at the Alzheimer’s Disease Foundation Malaysia in Petaling Jaya. This action research gathered qualitative data through participatory observations, reflective diaries, and video recordings. Findings indicate that patient engagement levels varied based on familiarity with music selections; many patients embraced children’s songs regardless of age and learned new compositions. Movement options were constrained to sitting due to the patient physical condition. Lesson plan outlines evolved over sessions, offering insights and recommendations for future music and movement practitioners.

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Pazdziora, John Patrick, and Eric Pazdziora. "The Anxious Laughter of Silly Songs." Jeunesse: Young People, Texts, Cultures 13, no. 1 (June 2021): 80–113. http://dx.doi.org/10.3138/jeunesse.13.1.80.

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In his 2018 study How to Make Children Laugh, Michael Rosen writes that when he performs silly songs and poems in schools, “I become the channel through which the children can, for a moment, let go of their anxieties about the authority figures in their lives” (23). The laughter mediates between the norms of adulthood and the anxieties of childhood. Although silly songs are perennially popular with children and their caregivers alike, they remain understudied. This article, then, asks how laughter works in the context of English-language silly songs for preschool and early elementary children. Drawing from Rosen’s theorization, it combines the perspectives of literary studies and early childhood music education to analyze well-known silly songs recorded by Sharon, Lois & Bram, Raffi, and others. Grown-up performers invite laughter by acting like goofy big kids who can play along with the children and by inverting the authority relationship between children and adults. Silly songs create deliberately incongruous, cheekily subversive experiences that can help children’s anxieties to be released and rendered nonthreatening.

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Sukha, Prema Gupita, Made Frida Yulia, and Dewi Rahayu. "ENHANCING VOCABULARY MASTERY IN GRADE X STUDENTS OF SMAN 1 NGAGLIK USING ENGLISH SONGS." ELTR Journal 9, no. 1 (January 28, 2025): 18–27. https://doi.org/10.37147/eltr.v9i1.225.

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Classroom Action Research (CAR) was aimed at improving the tenth MIPA 1 graders’ vocabulary mastery of SMAN 1 Ngaglik through English songs. Two cycles of classroom action research were conducted by integrating English songs into learning activities. Each cycle consisted of four stages: Planning, Acting, Observing, and Reflecting. In gathering the data, the researchers used two instruments; a pre-test and post-test, and a questionnaire. The pre-test and post-test scores were used to see the improvement in students’ vocabulary mastery. Subsequently, the questionnaire was used to find out the students’ perspectives on the use of songs in English class and the impact of English songs on the students’ vocabulary enrichment. The criteria for success were the average of the students’ post-test scores that should reach 80 and the existence of a positive impact on the students’ vocabulary mastery. The findings demonstrated an increase in the students’ post-test scores, whereby the average of those scores in the two cycles was beyond 80. The findings unveiled a positive perception of the English learning using songs and an increase in the students’ learning motivation in learning vocabulary. In conclusion, the use of English songs in learning had boosted the students' vocabulary mastery.

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Faridhotul Mukarromah, Hanny, and Imam Rohani. "Increasing Students' Understanding in Learning Hadith with the Direct Instruction Model in Class VII E MTs Walisongo Ngabar Putri." Journal of Islamic Studies and Society 1, no. 1 (February 10, 2023): 12. http://dx.doi.org/10.26714/jiss.1.1.2023.12-17.

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This study aims to determine how effective the direct instruction model is in improving the understanding of VII E grade students of MTs Wali Songo Ngabar Putri in Hadith subjects through the application of the direct instruction method or direct instruction method. The research subjects were class VII E MTs Wali Songo Putri Ngabar, totaling 24 female students.. This research is a classroom action research method (CAR) which consists of two cycles with the design of each cycle consisting of four stages, namely the first stage is planning, the second stage is acting (implementing), observing and the third stage is reflecting. Research data is obtained during action research until the final assessment of the action. The results showed that the results of the initial test after the action in the first cycle of 24 students there were 13 students (54.17%) declared complete, while for the other 11 students (45.83%) were declared incomplete. In the second cycle the number of students who completed as many as 20 students (83.3%), while the other 4 students had not completed (16.7%). Thus, it can be proven that the application of the direct instruction model in Hadith subjects for class VII E MTs Wali Songo Ngabar Putri about sneezing etiquette and yawning manners have a positive impact on increasing student understanding.

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Muhammad Sofiullah, A. Khairuddin, and Mokhammad Baharun. "SENI DRAMA SEBAGAI MEDIA DAKWAH PADA SANTRI PONDOK PESANTREN WALI SONGO PURWOSARI PASURUAN." Maddah : Jurnal Komunikasi dan Konseling Islam 6, no. 1 (January 31, 2024): 1–13. http://dx.doi.org/10.35316/maddah.v6i1.4549.

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Dramatic art as a medium for da'wah is a form of applying da'wah bil hal as is usually done in the Wali Songo strategy for spreading Islam. The Wali Songo Islamic Boarding School, Purwosari Pasuruan, uses dramatic arts as education and a medium to convey d a'wah messages. This research was motivated by the design and delivery of a da'wah message through dramatic art which was quite interesting and relevant to the students of the Wali Songo Islamic Boarding School, Purwosari Pasuruan. Therefore, the aim of th is research is, first, to find out the design of dramatic art as a medium for preaching to the students of the Wali Songo Islamic Boarding School, Purwosari Pasuruan. Second, to describe the process of conveying da'wah messages through dramatic art as a me dium for da'wah to the students of the Wali Songo Islamic Boarding School, Purwosari Pasuruan. The research method in this scientific work, the author uses a qualitative research method with a case study type. Meanwhile, this type of research uses descript ive qualitative by conducting in - depth observations and interviews with the research object. The design and implementation of this dramatic art is by quoting storylines or scripts from several books after recitation with Islamic boarding school caregivers and displayed at khitobah activities every Friday with Jamiyyah Farhaniyyah. Meanwhile, the targets of the da'wah for the dramatic ... ....... Vol. 6 No. 1 Januari 2024 Jurnal Komunikasi & Konseling Islam | 2 arts performance activities are the students of the Wali Songo Islamic Boarding School, Purwosari Pasuruan, who they usually call performing the Koran arts. The conclusion of this research is that the design for preparing dramatic arts is to recite the yellow book with Islamic boarding school teachers and then review the material from the book that has been studied into a drama script by holding a script review with the director and the players/actors. Meanwhile, the process of conveying da'wah messages through the art of drama applied by the students of the Wali Songo Islamic Boarding School is by conveying words of wisdom in bo oks that have been studied and discussed by emphasizing the elements of speech (vocals), expressions or facial expressions, as well as acting. and play a role.

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Setiaji, Dhestian Wahyu, Sri Rochana Widyastutieningrum, and Aminudin Aminudin. "Agus Prasetyo Aktor dan Rol Wayang Orang Sriwedari." Lakon Jurnal Pengkajian & Penciptaan Wayang 20, no. 1 (August 24, 2023): 19–31. http://dx.doi.org/10.33153/lakon.v20i1.5450.

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Agus Prasetyo: Actors and Role of Wayang Orang Sriwedari is an analysis of a person’s character. Agus Prasetyo’s ability of acting and artistic process to become a role is interesting to study because his existence has an impact on the sustainability and development of the Wayang Orang Sriwedari. The problem that is revealed is how the process of Agus Prasetyo becomes a role and its impact in terms of the sustainability and development of the Sriwedari Wayang Orang. Habitus theory is used to examine Agus Prasetyo’s process as an actor. The text and context approaches are used to find factors that support Agus Prasetyo to be a role model. The data collection is carried out by using the methods of observation, literature studies and interview. The collected data is analyzed using a data analysis process that emphasizes interpretative descriptive. The analytical study finds that Agus Prasetyo’s process of becoming a wayang orang actor is obtained through an educational process in the family, school and environment. This analysis also reveals that Agus Prasetyo’s acting as a role is supported by his creative and improvisational abilities in applying tembung (words), tandang (work) and tembang (songs).

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Kurnia, Cicih. "Increasing Young Learners’ Vocabulary Mastery By Using English Songs." JELE (Journal of English Language and Education) 3, no. 1 (June 8, 2017): 42. http://dx.doi.org/10.26486/jele.v3i1.266.

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Vocabulary is basic part of language when we learn english. Nowadays, introducing english vocabulary can be started in the kindergarten school. In early age, the young learners are easy to accept the language that has been given by teacher. Therefore, young learner in early age (approximately 3-4 years old) should get stimulation and learn English vocabulary in order to get preparation to study in higher level. This research was conducted to increase the young learners’ vocabulary mastery in b class of tungga dewi day-care. The classroom action research was implemented in this research. The teaching technique using songs were implemented through teaching and learning activities in two cycles of classroom action research. Each cycle of classroom action research was planning, acting, observing and reflecting. In this research, instruments to gather the data were field notes and observation checklists. Field notes and observation checklists were applied to take the data during the teaching learning process. The data would be analysed in order to solve the problems. Songs were applied in the activities of the first cycle of classrooms action research. The result of the first cycle was not quiet successful because the average of post –test score in cycle one was 37,8. Therefore, the teacher-researcher conducted the second cycle. The second cycle was conducted based on the result of the first cycle. Songs were combined the body movement in second cycle of the classroom action research. The result of the second cycle was successful because the average of post-test score was 77,78. As a conclusion, it can be concluded that the implementation of english songs could help to increase the young learner’s vocabulary mastery.

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Tokuo, Hiroshi, Katsuhide Mabuchi, and Mitsuo Ikebe. "The motor activity of myosin-X promotes actin fiber convergence at the cell periphery to initiate filopodia formation." Journal of Cell Biology 179, no. 2 (October 22, 2007): 229–38. http://dx.doi.org/10.1083/jcb.200703178.

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Filopodia are actin-rich fingerlike protrusions found at the leading edge of migrating cells and are believed to play a role in directional sensing. Previous studies have shown that myosin-X (myoX) promotes filopodia formation and that this is mediated through its ability to deliver specific cargoes to the cell periphery (Tokuo, H., and M. Ikebe. 2004. Biochem Biophys. Commun. 319:214–220; Zhang, H., J.S. Berg, Z. Li, Y. Wang, P. Lang, A.D. Sousa, A. Bhaskar, R.E. Cheney, and S. Stromblad. 2004. Nat. Cell Biol. 6:523–531; Bohil, A.B., B.W. Robertson, and R.E. Cheney. 2006. Proc. Natl. Acad. Sci. USA. 103:12411–12416; Zhu, X.J., C.Z. Wang, P.G. Dai, Y. Xie, N.N. Song, Y. Liu, Q.S. Du, L. Mei, Y.Q. Ding, and W.C. Xiong. 2007. Nat. Cell Biol. 9:184–192). In this study, we show that the motor function of myoX and not the cargo function is critical for initiating filopodia formation. Using a dimer-inducing technique, we find that myoX lacking its cargo-binding tail moves laterally at the leading edge of lamellipodia and induces filopodia in living cells. We conclude that the motor function of the two-headed form of myoX is critical for actin reorganization at the leading edge, leading to filopodia formation.

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Vavryshchuk, Serhii. "“Winds Are Blowing” by Hanna Havrylets in the Theatrical Interpretation of the Chamber Choir "Kyiv"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 50–65. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251795.

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The author has characterized the demonstrative features of the choral theater genre and their embodiment in the performance of historical oratorio "Winds are blowing" by Ganna Havrylets by the Municipal Academic Chamber Choir "Kyiv". The author defines the affiliation of this play to the type of choral theater "History in the Faces", as 12 historical songs recorded by O. Koshyts during the Kuban expedition (1903-1905) were selected, processed and combined into a dramatic integrity by composer Ganna Gavrilets. They focus on pictures of the national liberation struggle of the Ukrainian people. The theatrical concept of staging in the communicative link is built: composer - conductor - arranger - director - spectator. It was found that in order to dynamize the performance the authors of concert-theatrical performance (conductor Mykola Hobdych, director Vasyl Vovkun) made structural changes (removed individual numbers, added the final instrumental number), enriched the timbre sound palette of the chamber choir with additional instruments (bandura, reed pipe or flute, percussion), which are used by choristers simultaneously with singing. Approaches to the theatrical performances with personification images and general choral scenes, alternating in the form of contrast of drama of the work were underlined. It is established that in the choral works of the cycle with personified imagery the emphasis was on more effective individual acting means (facial expressions, plastics, movements), in epic songs - on more static but symbolically filled mise-en-scène factors (graphic-spatial forms of stage arrangement of performers on stage). It is noted that the directors contributed to the better disclosure of the content of the play through the integrated use of the background (eg, costumes), mise-en-scène and acting means of theatrical choral performance. These artistic techniques also increased the spectacle, concert and stage representativeness and created a variety of acoustic effects.

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Lukyanova, Valentina, and Olga Koloskova. "Pragmatic potential of onomatopoeia in animated movies for children." Global Journal of Foreign Language Teaching 10, no. 1 (February 29, 2020): 58–64. http://dx.doi.org/10.18844/gjflt.v10i1.4482.

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This paper reflects the results of the investigation into pragmatic potential of onomatopoeia as a part of children’s movies. The enquiry into this subject was conducted within the framework of the project devoted to the evolution and functioning of language within films for children. The paper includes the analysis of onomatopoeia through language development aspects, stylistic and pragmatic analysis. In this regard our attention is focused on the semantic, pragmatic and linguistic characteristics of onomatopoeia. It has been suggested that the onomatopoeia performs different functions within the children’s movies acting as a strong expressive component, reflecting the level of speech development, conveying emotions, describing nature, supporting musical mood in songs, attracts child’s attention to the most important character or event, forming new hybrid words to convey extra connotations, participating in wordplay such as pun or parody, developing mental activity, linguistic intuition and social communicative skills. Keywords: Onomatopoeia, language development, pragmatic potential, semantic and functional feature, animated movies for children.

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Pradana, Chandra Duwita Ela. "Pengertian Tindakan Bullying, Penyebab, Efek, Pencegahan dan Solusi." Jurnal Syntax Admiration 5, no. 3 (March 30, 2024): 884–98. http://dx.doi.org/10.46799/jsa.v5i3.1071.

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Bullying is an intentional act to hurt another person physically, verbally, or emotionally. Bullying can happen anywhere, including at school, the workplace, and online environments. This research aims to understand bullying, causes of bullying, effects of bullying, and prevention of bullying. This study used qualitative research methods. The data collection technique in this research is literature study. The data that has been collected is then analyzed in three stages, namely data reduction, data presentation and drawing conclusions. The research results show that bullying is caused by several factors including peer environment, family environment and social status. This behavior also has negative effects, including disrupted physical health, mental health problems, and the birth of bullies. Bullying behavior needs to be prevented and solutions formulated, including those that can be implemented wisely by utilizing technological advances, avoiding discriminatory attitudes, instilling affection, socializing through songs, making strict rules about bullying, providing education to perpetrators, providing protection and acting decisively.

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Williams, Dominic. "Embodying the Auschwitz Sonderkommando in extreme metal." Metal Music Studies 6, no. 3 (September 1, 2020): 319–36. http://dx.doi.org/10.1386/mms_00021_1.

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Prompted by the Meads of Asphodel album Sonderkommando (2013), this article considers ways in which the Auschwitz Sonderkommando (SK) figure in extreme metal. While there are not many metal songs about the SK, they feature far more in metal lyrics than in almost all other music genres. Attracted by obscure and difficult parts of history, metal bands draw on their practices to ‘embody’ the SK: not simply representing them, but feeling and acting out their plight to excess. The article examines a number of these practices: difficult to decipher vocals, the use of global Englishes and a bookish attraction to the arcane and the bizarre. It argues that metal’s embrace of intense feeling in the lyrics and vocal and musical styles can be interpreted as an exploration of embodiment and materiality, allowing a consideration of mediation, the matter through which the SK might be felt and understood. Embodying the SK in metal, then, does not merely comprise an eccentric example of Holocaust memory at work, but takes on central issues of Holocaust representation.

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Dr Rita and Dr Jitender Kumar. "The Role of Women in Preserving and Promoting Cultural Heritage." Universal Research Reports 11, no. 5 (December 29, 2024): 55–64. https://doi.org/10.36676/urr.v11.i5.1495.

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Women play a pivotal role in safeguarding and promoting cultural heritage, acting as custodians of traditions, languages, rituals, and artistic expressions. Their contributions are multifaceted, spanning from the transmission of oral traditions to the preservation of tangible cultural artifacts and the revival of traditional crafts. In many societies, women are the primary bearers of cultural knowledge, passing down stories, songs, and customs from one generation to the next. They are often responsible for preparing traditional cuisine, crafting textiles, and practicing indigenous art forms, all of which are vital components of cultural identity. Through these practices, women not only preserve historical narratives but also foster social cohesion and community resilience. Women also play a crucial role in protecting intangible cultural heritage. For example, they often lead community celebrations, religious ceremonies, and traditional dances, ensuring that these practices remain vibrant and relevant. Additionally, women contribute significantly to the preservation of local languages, which are essential for maintaining cultural diversity and understanding ancestral wisdom. Moreover, women have been at the forefront of initiatives aimed at conserving historical sites and natural landscapes.

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Yan, Haosyuan. "The phenomenon of the singing style of J. Kaufmann: theoretical aspect." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 260–78. http://dx.doi.org/10.34064/khnum2-21.17.

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Background. In recent years, there has been an increasing interest in the performing style issues in modern musicology. However, creative work of each musician provides new and new grounds for further reflection, in particular, the creativity of the outstanding contemporary singer Jonas Kaufmann. He is now at the height of his career and his works include opera roles and chamber programs based on the compositions by R. Wagner, J. Verdi, J. Massenet, J. Puccini, R. Strauss, F. Schubert, J. Bizet, and J. Paisiello. The urgency of this study exists owing to the lack of a scientific description of the creative work of J. Kaufmann. The objective of this study is to determine the main features of Kaufmann’s singing style from the point of view of the phenomenological approach. Methods. The complex research methodology is based on the theoretical substantiation of the analysis of a performer style through the positions of the phenomenology of creativity (research by E. Husserl, A. Losev, M. Arkadyev, G. Tsypin). The application of a systematic approach led also to the involvement of the theory of the performing style (research by V. Medushevsky, V. Moskalenko, and Yu. Nikolaievska). Results. The results of the research support the idea that J. Kaufmann’s singing style is a system of interrelated parameters. There are three components of the singing style. The first is related to the general phenomenon of style, the second – to the process of performance and the third – to the specifics of vocal performance. Thus, the musical style (component 1) is an expression of the peculiarities of musical thinking, and musical compositions are the product of dialogue and communication between the performer and the composer (according to V. Medushevsky). In this sense, the status of the performer, who, in fact, is the creator of the interpretation, is strengthened. For the theory of the performing style (component 2) the definition of V. Kholopova is relevant, that style is a «category-introvert» and the concept of «style of creative personality» (S.Shyp), «style of musical creativity» (V. Moskalenko), «type of creative personality» (E. Liberman),»archetype of a musician» (O. Katrych), which focus on individual characteristics, but in the perspective of the formation of universal features. The thinking of the performer-vocalist (component 3) is focused on the vocal-acting embodiment and reincarnation with the help of the voice as an instrument of what is laid down by the composer in the text of the composition, based on his own creative thinking and personality type. Thus, the definition is proposed: The performing vocal (singing) style is the integrity of the highest order, which manifests itself as a type of music-making, based on the characteristics of the timbre colouring of the sound and formed vocal techniques (orientation on language phonetics, rigor or improvisational freedom, expression, etc.). The noted theoretical provisions allow revealing more fully the specifics of J. Kaufmann’s performing style. In addition, basing on journalistic research, interviews and biographical materials, the periods of J. Kaufmann’s creative work has been proposed. Based on the guidelines of the phenomenology of creativity (G. Tsypin) and various interpretative versions of J. Kaufmann, the following components of his singing style have been formulated. 1. Intellectualism, conceptuality of the idea and «cyclicality» of the embodiment – the parameter that is manifested in the singer’s interpretation of the image of Faust in different interpretations (1999 – opera by F. Busoni, 2002, 2005, 2011, 2012, 2015 – dramatic legend by H. Berlioz and opera by S. Gounod, 2011 – symphony by F. Liszt). Moreover, the basis of the singer’s interpretations in the compositions by Ch. Gounod, F. Busoni, H. Berlioz is the German tradition of interpreting the image of Faust and, in particular, Goethe’s poem), which forms the integrity of the singer’s interpretative concept. It has been pointed out that J. Kaufmann always chooses complex programs (chamber cycles by R. Wagner, R. Strauss, G. Mahler) for the formation of liberabends, and the programs are dominated by song cycles «Five Songs on Matilda Wesendonk’s Poems» by R. Wagner, «Three Sonnets of Petrarch» by F. Liszt, «Seven Sonnets of Michelangelo» by B. Britten, «Winter Road» by F. Schubert, «Songs about the Dead Children» by G. Mahler), or evenings are even dedicated to the creative work of one composer (R. Wagner, R. Strauss, G. Mahler), which is reinterpreted by the singer and presented in a new emotional and intellectual key. 2. Commitment to director’s theatre. J. Kaufmann shares the views on the dominance of director’s theatre in the modern world, which he repeatedly noted in the interviews. And although, in particular, the interpretation of Faust as a character of the concepts of different directors is centred by the artist”s personal understanding of the depths of this image, still in different performances one can see its different shades (which depend on the director’s interpretations). 3. Composite system of vocal expression means that allow the singer to model different facets of images. It is noted that J. Kaufmann’s interpretations are characterized by: economy of performing means, commitment of the singer to the cantilena, the role of the rhythmic component in the vocal score, the ability to adjust his voice in different vocal ensembles, brilliant piano and mezzo voce, brightness of forte, filigree of diminuendo and more. J. Kaufmann treats the text (score) with respect, always knows the libretto, he never allows himself to exaggerate in terms of agogics, dynamics, etc.). In Kaufmann’s performance, masculinity always prevails. Conclusions. The essence of the phenomenon of J. Kaufmann’s work is the desire not to stand still, to move forward, to open new pages of music or to rethink already known ones, i. e. the tendency to constant self-development, in terms of phenomenology This applies to the interpretations of the works by F. Schubert, G. Mahler, R. Strauss, the mentioned interpretation of the image of Faust in the works of various composers, which demonstrates his constant rethinking. J. Kaufmann’s chamber performing is of great interest for the study of his style. The complexity and diversity of images, texts of works, the unity of style, the ability to distribute the power of the voice, to subordinate its capabilities to the artistic idea – these are the features that characterize a true master. In addition, in his control is to almost the entire tenor repertoire – opera, concert, and chamber. Overall, we regard him a singer of universal type.

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Sakaluk, Scott, Geoffrey Owner, Colleen McGrath, Charles Collins, Jennifer Adams, Eric Bastien, Nathan Jarvis, et al. "Time of Eclosion and Mating Success of Male Sagebrush Crickets." UW National Parks Service Research Station Annual Reports 35 (January 1, 2012): 39–42. http://dx.doi.org/10.13001/uwnpsrc.2012.3923.

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Few studies have measured multivariate sexual selection acting on the sexual signals of male insects in wild populations. Sagebrush crickets are ideally suited to such investigations because mating imposes an unambiguous phenotypic marker on males arising from nuptial feeding by females. However, an important assumption underlying such studies is that males collected as virgins and those collected as non-virgins had equal opportunities to mate, an assumption that may be violated if males eclose (i.e. emerge following pupation) at different times of the breeding season. If mated males are those in the population that eclosed earlier and hence had a longer period to obtain matings than males in the virgin group, then differences in the songs of virgin and mated males could simply be an artifact of age-related changes in male morphology as opposed to a causal factor underlying variation in male mating success. Accordingly, we conducted a mark-recapture study to determine if there is an association between first appearance in the population and the likelihood of mating in free-living males. We captured all of the virgin males calling in the study population and marked them uniquely with a numbered tag. Subsequently, we tracked the mating success of 98 male subjects through the mid-point of the breeding season. There was no significant effect of date of capture (a proxy for time of eclosion) on time to mating. We conclude, therefore, that any differences in the songs of virgin and mated males stems from their effect on male mating success and not from any age-related effects.

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Aldi, Hadi Wiyono, and Thomy Sastra Atmaja. "Penguatan Pendidikan Karakter Peserta Didik Melalui Budaya Sekolah di SMP Negeri 3 Jawai Selatan Kabupaten Sambas." PTK: Jurnal Tindakan Kelas 5, no. 2 (May 2, 2025): 424–37. https://doi.org/10.53624/ptk.v5i2.570.

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One important aspect to form a generation with morals and integrity in the midst of increasingly complex developments is character education. The purpose of this study was to analyze the strengthening of character education with school culture at SMP Negeri 3 Jawai Selatan which consists of routine activities, spontaneous, exemplary, and conditioning. This study uses a qualitative descriptive method. Data were taken through observation, interviews with informants, namely the principal, social studies teachers, and 6 students, and through documentation. Data analysis used data reduction techniques, and data presentation, as well as drawing conclusions and verification. The result is the strengthening of character education at SMP Negeri 3 Jawai Selatan with routine activities, spontaneous, exemplary, and conditioning. Routine activities consist of flag ceremonies, congregational Dzuhur prayers, singing national songs during ceremonies, reading the Qur'an, and hair raids. Spontaneous activities include giving sanctions to students who fight, litter, are not neat in their clothes, are caught cheating, are caught stealing, and say bad words. Exemplary activities are the exemplary behavior of teachers, principals, students, school staff, and school residents in attitudes and behaviors such as dressing, speaking, acting, personal hygiene, and discipline. Conditioning activities are creating a clean school environment, clean toilets, clean classrooms, clean teachers' rooms, clean gardens, posting motivational/wise words containing character, and extracurricular activities.

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Ríos Erazo, Camila Andrea. "The role of women’s dressing in the current social activist movement in Chile (2019‐20)." Clothing Cultures 7, no. 2 (September 1, 2020): 165–76. http://dx.doi.org/10.1386/cc_00035_1.

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In the context of the current protests in Chile, women are more empowered than they have been in previous years; they dare to protest freely in the streets to express themselves and demand their rights. They enhance their political message through their bodies by wearing accessories such as blindfolds or hoods. They have transformed these objects into symbols of protest. Women protesting with bare torsos or wearing only bras are some of the meaningful ways that some women are currently expressing themselves politically in Chile. These dress/undressed objects are more than simple pieces of fabric: they express political dissent and women’s vulnerability. This article will consider the role and significance that women’s dressing plays in the current Chilean social movement from different perspectives. This research will analyse clothing through case studies on three women ‐ María, Rosa and Almendra ‐ who belong to feminist collectives that have actively participated in the recent protests in Santiago de Chile. The interviews conducted were anonymized, so fictitious names are presented. María belongs to a collective that carries out performances related to liberation through dance and acting. Rosa and Almendra belong to a well-known collective who, through their characteristic red hoods and dances, express their political dissent by singing songs alluding to revolt. In all cases, textiles are a fundamental part of their characterization and identity formation. This article will ultimately argue that dressing, in the context of protest, is an element of power, both in its role of granting freedom and empowering unity for a collective struggle.

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Poudel, Bimal Prasad. "The downfall of Political Idols in Sanjeev Uprety’s “Heroes and Onions: Arrival of a New Leader”." Curriculum Development Journal 32, no. 46 (December 31, 2024): 42–53. https://doi.org/10.3126/cdj.v32i46.76999.

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This paper explores the use of dramatic mechanisms in Sanjiv Uprety’s novel Ghanachhakkar, to examine the rise and fall of a political leader. The narrative, set in the socio-political context of Nepal, depicts a mass gathering in Basantapur Durbar Square where the people, filled with hope, celebrate the arrival of a new leader they believe will bring prosperity and change. The leader is initially hailed as a heroic figure, with public ceremonies, rituals, and symbolic acts such as the chanting of patriotic songs and the offering of garlands. However, their expectations are shattered when the leader is revealed to be a hollow figure, devoid of substance—a “failed hero” who cannot fulfill his promises. This paper aims to analyze the dramatic mechanisms used to construct and deconstruct political heroism, focusing on how these performances are employed to manipulate public perception. Drawing on performance studies, particularly the theories of Joseph Campbell, Richard M. Merelman, Victor Turner, and David E. Apter, the study examines how politics mirrors drama, with leaders acting as performers on a public stage. Through the lens of the “failed hero” archetype, the paper also connects these dramatic failures to broader political implications in Nepal’s volatile political environment, where the gap between the people’s hopes and the leaders’ reality often leads to disillusionment. It highlights how the leader’s downfall, as depicted through the theatrical use of rituals and ceremonies, reflects the broader political dynamics of betrayal and unmet expectations in Nepal.

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Yang, Jie, Rong Chen, Xu Xiang, Wei Liu, and Chao Fan. "Genome-Wide Identification and Expression Analysis of the Class III Peroxidase Gene Family under Abiotic Stresses in Litchi (Litchi chinensis Sonn.)." International Journal of Molecular Sciences 25, no. 11 (May 26, 2024): 5804. http://dx.doi.org/10.3390/ijms25115804.

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Class III peroxidases (CIII PRXs) are plant-specific enzymes with high activity that play key roles in the catalysis of oxidation-reduction reactions. In plants, CIII PRXs can reduce hydrogen peroxide to catalyze oxidation–reduction reactions, thereby affecting plant growth, development, and stress responses. To date, no systematic analysis of the CIII PRX gene family in litchi (Litchi chinensis Sonn.) has been documented, although the genome has been reported. In this study, a total of 77 CIII PRX (designated LcPRX) gene family members were predicted in the litchi genome to provide a reference for candidate genes in the responses to abiotic stresses during litchi growth and development. All of these LcPRX genes had different numbers of highly conserved PRX domains and were unevenly distributed across fifteen chromosomes. They were further clustered into eight clades using a phylogenetic tree, and almost every clade had its own unique gene structure and motif distribution. Collinearity analysis confirmed that there were eleven pairs of duplicate genes among the LcPRX members, and segmental duplication (SD) was the main driving force behind the LcPRX gene expansion. Tissue-specific expression profiles indicated that the expression levels of all the LcPRX family members in different tissues of the litchi tree were significantly divergent. After different abiotic stress treatments, quantitative real-time PCR (qRT-PCR) analysis revealed that the LcPRX genes responded to various stresses and displayed differential expression patterns. Physicochemical properties, transmembrane domains, subcellular localization, secondary structures, and cis-acting elements were also analyzed. These findings provide insights into the characteristics of the LcPRX gene family and give valuable information for further elucidating its molecular function and then enhancing abiotic stress tolerance in litchi through molecular breeding.

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