Songs

En el año 1889 se comercializaron en EEUU los primeros cilindros de cera que contenían grabaciones musicales. Estas grabaciones podían escucharse con auriculares de tubo mediante el fonógrafo de Edison en salones fonográficos y otros espacios urbanos ubicados en las zonas de ocio de numerosas ciudades del país. Sin embargo, fue a partir de 1896 cuando estos reproductores musicales comenzaron a tener un uso doméstico. Aprovechando la presencia de artistas españoles en el continente americano, la National Phonograph Company y la Columbia Phonograph Company realizaron numerosas grabaciones que contienen música extraída de la zarzuela, el género chico,  la canción de salón y el folclore regional.
Con el título De cera y Goma Laca. La producción de música española en la industria fonográfica estadounidense (1896-1914), Kiko Mora, profesor de semiótica audiovisual de la Universidad de Alicante, elabora un estudio preliminar, con entronque cuantitativo e historiográfico, de la producción musical española de carácter comercial en la primera mitad de su etapa acústica en los Estados Unidos de América.
¿Cuál fue el volumen total de producción musical y cuáles fueron los años más relevantes? ¿En qué ciudades se grabaron las piezas musicales y cuáles fueron sus contextos de producción? ¿Quiénes fueron los artistas y los compositores españoles más prolíficos? ¿Qué géneros y piezas musicales fueron los predominantes? Este libro ofrece respuestas a estas preguntas y abre un nuevo itinerario para otros estudios relacionados con la presencia de la música española y su interacción con otras músicas en los inicios de la industria discográfica más más influyente del siglo XX.

In questo lavoro è stata svolta una ricerca parallela tra cinema e canzone in Italia: film e canzoni sono stati considerati come prodotti culturali, oggetti intermediali, forme artistiche e categorie estetiche che entrambe concorrono alla creazione dell'immaginario pop e del paesaggio intermediale italiano. Nella prima parte della ricerca si è indagata la mutua e reciproca interazione e intersezione tra mondo del cinema e mondo della canzone da un punto di vista cronologico (sincronico e diacronico, periodizzazioni), teorico, semiotico e formale, indagando la presenza del cinema nella canzone italiana e della canzone italiana nel cinema italiano. Nella seconda parte si analizzano come prodotti culturali alcune opere significative di due casi studio, un regista (Nanni Moretti) e un cantautore (Claudio Baglioni), che rispettivamente si sono serviti del campo artistico opposto al proprio (Moretti della canzone, Baglioni del cinema), ampliando così le possibilità espressive e di significazione del proprio medium, ed espletando a livello intermediale la propria poetica. Questa trattazione dimostra dunque che nei casi di Baglioni e Moretti canzone e cinema hanno mutuamente collaborato tra di loro scambiandosi forme e materiali, concorrendo a creare l'immaginario pop-culturale italiano che caratterizza la nostra contemporaneità.

Realizing the constructed nature of gender is often described as a twentieth-century
Western phenomenon. Nevertheless, in several South Asian
religious traditions, practitioners are instructed through songs and oral teachings
to exchange and ultimately transcend gender identities. In this article
I discuss the practices aimed at transcending gender identity among some
contemporary Bengali lineages that have been defined as “heterodox” by
nineteenth-century reformers. Several lineages in West Bengal and Bangladesh
perform cross-dressing and meditative identification with the opposite
sex. I discuss such practices using songs, riddles, and oral sources collected
during fieldwork conducted between 2011 and 2015. I then briefly trace the
history of religious transvestism in South Asian literature, while contextualizing
this practice within Vaishnava and Sufi traditions. Finally, I discuss how
similar phenomena have been interpreted by modern and postmodern scholarship
to conclude with a conceptual framework for interpreting “pregnant
males” and “barren mothers” in light of contemporary gender theories, with
reference to performativity and ritual liminality.

PROBLEM: Teachers of young learners use music, namely chants and songs, ubiquitously in the English classroom. Though chants and songs are commonly used, teachers may not be fully aware of the potential benefits of music in the young learner classroom. Through an online survey, 126 teachers (n = 91) of young learners were queried to gather an understanding of their perceptions of music use, purpose, and effectiveness. The goal of the study was to specifically compare differences and similarities in music use, purpose, and perceptions of effectiveness of chants and songs between Native Speaker Japanese teachers and Native Speaker English teachers.
FINDINGS: The findings are based on both descriptive data of the entire survey group as well as bivariate statistics of the focus groups. Based on descriptive data, teachers noted when they use music, its purpose in an English lesson, and how they perceive chants and songs to be effective. The descriptive data revealed several important findings. With regard to when music is used, introduction and practice of vocabulary ranked highest. With regard to purpose, teachers used music to develop the prosodic features of English, namely rhythm and pronunciation. In addition, teachers perceived music to be a powerful tool in learning, mainly promoting long-term memory gains and creating a positive atmosphere. Looking specifically at "chants and songs," teachers perceived them to be affective for promoting long-term memory, developing speaking skills, building confidence, providing motivation, creating a positive atmosphere, and integrating active learning. The bivariate statistics demonstrated a major finding that Native Japanese speaking teachers and Native English speaking teachers use music in similar ways for English language teaching. Four areas differ however. First of all, there is a trend for Native Japanese speaking respondents to value music to "help students learn the rhythm of English”. Secondly, Native English speaking respondents value music to teach English "because my students can move with music to learn language in a kinesthetic way.” Thirdly, Native Japanese speaking respondents were more likely to respond positively to the use of the
iii
Natural Approach, a teaching method developed by Stephen Krashen and Tracy Terrell. Finally, Native English speaking respondents may use chants and songs to allow students to express themselves using facial expressions.

Negli anni Cinquanta e Sessanta la società italiana attraversa un periodo decisivo, nel quale cambia in modo rapido e profondo, come forse mai nella sua storia. Il libro racconta questo momento di passaggio utilizzando una categoria di fonti storiche inconsueta e formidabile: le canzoni di Sanremo. Da Nilla Pizzi a Claudio Villa, da Modugno a Celentano, da Mina alla Cinquetti, quelle prime, seguitissime edizioni del Festival riflettono il percorso dell'Italia dal Dopoguerra al Boom, dalla povertà al benessere, da società contadina a moderna potenza industriale. Analizzando le canzoni sia da un punto di vista testuale che musicale ed inquadrandole nel generale contesto di ricostruzione storica di quegli anni, viene messo in luce come quelle musiche e parole, quei divi e quel pubblico rivelino i mutamenti (e le resistenze al cambiamento) di un Paese attratto e spaventato dalla modernità. Cambia il modo di rappresentare la realtà, di guardare all'America, nonché l'immagine dell'amore, della donna e della famiglia. Mentre partiti politici ed intellettuali come Pasolini, Eco, Fallaci e Montanelli si interrogano sul Festival, gli italiani ne decretano a gran voce il successo, canticchiandolo, criticandolo o facendo entrambe le cose.

(303 pagine - Nota introduttiva di Stefano Bollani)
http://www.mondadorieducation.it/libro/leonardo-campus/non-solo-canzonette/120900039852

---
In the Fifties and the Sixties, Italian society undergoes changes as quick and deep as probably never before in its history. The book deals with this pivotal moment through an unusual, yet very powerful category of historical sources: the songs of the Sanremo Festival.
With singer-stars such as Nilla Pizzi, Claudio Villa, Domenico Modugno, Adriano Celentano, Mina and Gigliola Cinquetti, those early, very popular editions of the Sanremo Festival reflect the path Italy was covering from postwar to the "boom" years, from poverty to prosperity, from rural society to a modern industrialized power.
By analyzing the songs both from a textual and a musical point of view, and by placing them into the historical context, the book underlines how those notes and lyrics, those singer-stars and their audiences may reveal us the changes (and efforts to resist them) of a country that was both attracted and scared by modernity.
Among things that change are the way songs represent social reality, the relation with America and its culture, the image of love, woman and family.
As political parties and intellectuals such as Pasolini, Eco, Fallaci and Montanelli judge the Festival, Italian people sanction its success with a loud voice, by either whistling it, criticizing it, or doing both at the same time.

(pages 303; Foreword by Stefano Bollani)
http://www.mondadorieducation.it/libro/leonardo-campus/non-solo-canzonette/120900039852

Esistono certamente diversi modi di studiare il rapporto tra geografia e fiction; questo libro lo fa da un punto di vista del tutto particolare che mette in primo piano la territorializzazione configurativa in quanto ambito della rappresentazione artistica ed emozionale. L’idea di base che lega i saggi qui raccolti è che la fiction rappresenti una simulazione di territorialità in cui non si tratta tanto di imitare l’esistente quanto di formulare ipotesi sui possibili, ossia su ciò che non è ma che potrebbe essere. In quanto experimentum mundi, la fiction può dunque essere letta attraverso l’apparato metodologico di quella teoria geografica della complessità che ha nei concetti di territorio, territorialità e territorializzazione i suoi elementi fondanti e in autori come Claude Raffestin, Angelo Turco, Giuseppe Dematteis e Alberto Magnaghi i suoi principali interpreti.
Il ricorso alla “cassetta degli attrezzi” che soccorre il geografo nel suo la-voro di decifrazione degli assetti territoriali attuali si giustifica qui con l’esigenza di soddisfare i criteri basilari che una “teoria geografica della fiction” deve rispettare: 1) essere inequivocabilmente geografica, vale a dire riconoscibile come tale; 2) proporre un metodo, cioè basarsi su una teoria e su regole precise e dichiarate; 3) rappresentare un valore aggiunto, ossia metterci nella condizione di vedere qualcosa che altrimenti non vedremmo. Ci sarebbe in realtà un quarto criterio di cui dobbiamo costantemente tenere conto nella nostra disamina della simbolica del territorio e delle sue molteplici configurazioni topiche, paesaggistiche ed ambientali: la necessità di rispettare sempre la specificità del medium affrontato, qualunque esso sia, scansando la tentazione di ricondurlo ad un “testo”.
Dopo i primi due capitoli, nei quali si definisce l’impianto teorico-metodologico del lavoro, i successivi sono dedicati di volta in volta ad un particolare caso di studio: l’opera con Die Zauberflöte di Wolfgang Amadeus Mozart, il cinema di Wes Anderson, le canzoni di Paolo Conte e i graphic novel di Gipi – tutte simulazioni di territorialità in cui le qualità geografiche gioca-no un ruolo di primo piano, fissando le condizioni di possibilità della narrazione.
Prefazione di Angelo Turco

This article provides an example of historical analysis of a pop song, by showing how Domenico Modugno's super-hit of 1958, "Nel blu, dipinto di blu" (a.k.a. "Volare") powerfully, if implicitly, reflected Italian social renaissance and the beginning of its so-called "economic miracle". The song triumphed at the Sanremo's Festival, then a widely popular event.

ABSTRACT
The purpose research proposal is diction in Shawn Mendes’s Song through social perspective. The research method or subject which used by research is social perspective. The research proposal focuses on diction in Shawn Mendes’s Song through social perspective.
Keywords : Literature, Poetry, Diction, Social Perspective, Song, Imagery, Shawn Mendes’s Songs.

Estudio del género villancico tal como se manifiesta en los cancioneros de fines del siglo XV a través de los parámetros establecidos para esta obra: configuración y estructura de las rimas y de la estrofa, cómputo silábico, aspectos pragmáticos (importantes en este caso por su inserción en la historia de la música) y el modo de su puesta por escrito en manuscritos e impresos.

The article deals with the song postil Písně na epištoly a evanjelia nedělní a sváteční (Songs on the Epistles and Gospels for Sundays and Feast Days), written down during the 1570s by the Utraquist priest and follower of Luther Valentin Šubar Lanškrounský and printed during the second decade of the seventeenth century by Jiří Hanuš Lanškrounský z Kronenfeldu and relatives Jan Schumann the Elder. There is a comparison of all five preserved specimens: a manuscript copy (V B 7) and a printing (K16012) from the National Museum Library, two printings from the Education and Research Library of the Pilsen Region (K16012 and K16014), and a printing from the Strahov Library (K16012). Mainly on the basis of chronograms, it has been determined that the previously stated dating of the printed editions was incorrect. The supposedly lost prose "Summas" are found in a specimen dated to 1612, which is the only one also containing a foreword by Valentin Šubar and seven uniquely preserved Easter songs.

The aim of this study is to determine which values are included in education songs in elementary school textbooks and the level of these values. This study, conducted using document analysis method, involved primary education music class textbooks. Education songs in textbooks were analyzed within the frame of 29 values determined based on literature research. Two charts have been created in order to determine the values included in educational music. At the end of the research, it was determined that although music classes are very suitable for teaching values, education of values was not sufficiently included in the schedule. There were education songs including values such as love, respect, self-esteem, solidarity, cooperation, peace, collaboration, morality, cleanliness, kindness, diligence, friendship, responsibility, patriotism, tolerance, loyalty, sharing, sensibility and honorableness; however, there were no education songs including values of compassion, grace, honesty, generosity, sincerity, prudence, being patient, being fair, hospitality and humbleness. In addition, there were no Traditional Turkish Music Songs for children and there were very few folk songs in the textbooks.

Performance: https://www.youtube.com/watch?v=Gt-7n6z9lQ8

The doctrine you desire,
absolute, perfect,
dogma that alone provides wisdom,
does not exist.

Nor should you long
for a perfect doctrine....

Rather, you should long
for the perfection
of yourself.

Truth reveals itself
in enigma;
let us approach it
with wonder and awe
as diviners of its mystery.

(text adapted in part from Hermann Hesse's "Glass Bead Game" and Gene Roddenberry)

Bruce Springsteen e la cinematografia documentaria: Il Cineocchio di un musicista che indaga il reale e la quotidianità Prefazione: Ho scelto di fare un confronto tra la cinematografia documentaria del '900 con l'opera musicale di Bruce Springsteen. Ho intrapreso questa strada perché già in molti si sono soffermati nello studio del reciproco scambio tra le canzoni del cantautore del New Jersey e il cinema di fiction, ma raramente costoro hanno considerato il cinema documentario. Ho notato molti punti in comune tra il modo di operare dei documentaristi affrontati a lezione e quello usato da Springsteen. Cercherò qui di seguito di fare una carrellata più ampia possibile partendo dall'opera di Vetrov, Flaherty, Grierson e Ivens, proseguendo con il cinema vérité e il direct cinema degli anni '60/'70, passando per i film dei fratelli Maysles e di Wiseman, sfiorando il "video-diario" e l'idea di vita reale di Andy Warhol e Jonas Mekas e concludendo con un paio di rapidi confronti con alcuni film di fiction con stile documentario. Oltre agli argomenti trattati a lezione e ai documentari visionati, ho preso in considerazione anche il libro "Il cinema secondo Springsteen" a cura di Diego Del Pozzo e Vincenzo Esposito di cui qui di seguito riporto una parte dell'introduzione. Mi sono focalizzata in particolare sul saggio di Vincenzo Esposito "Bruce Springsteen e l'immaginario cinematografico americano" (1973-1990).

Apesar de nossas pesquisas se caracterizarem, primordialmente, pela abordagem de estudo bakhtiniana, neste capítulo de livro, lançamos mão também da contribuição da semiótica da canção, a fim de refletirmos sobre a constituição desse gênero (canção). Para isso, dispomo-nos a pensar a constituição dos sujeitos da canção, sua entoação e algumas características típicas verbais de sua construção arquitetônica.

Alvin Tube is a website that provide every single songs, music, videos, and you can only find Free Download Mp3 Music Videos 2016, Download Lagu Mp3 Gratis Terbaru 2016, Download Video Youtube Terbaru 2016, Free Download Mp3 Songs Music 2016, and you can only find it on our officially website

Composing for Voice: Exploring Voice, Language and Music, Second Edition, elucidates how language and music function together from the perspectives of composers, singers and actors, providing an understanding of the complex functions of the voice pedagogically, musicologically and dramatically. Composing for Voice examines the voice across a wide range of musical genres (including pop, jazz, folk, classical, opera and the musical) and explores the fusion of language and music that is unique to song. This second edition is enlarged to attract a wider readership amongst all music and theatre professionals and educators, whilst also engaging an international audience with the introduction of new co-author Maria Huesca.

New to the second edition:

A review of the history of singing
An overview of the development of melisma
A chapter designed to help performers understand each other, as singers and actors often receive disparate educations
Case studies and qualitative research around song, lyric and meaning
A discussion of the synthetic voice
An introduction to the concept of embodied composition
Interviews with composers and singers
Summaries of various vocal styles, including bel canto, the lyric voice, the belt voice, the rap voice, the dramatic voice, the virtuoso voice, the folk voice, the crooner, the live voice and the actor’s voice
A website with many of the links and performances of music discussed, as well as related workshops and seminars: www.composingforvoice.com
Composing for Voice: Exploring Voice, Language and Music, Second Edition,articulates possibilities for the practical exploration of language, music and voice by composers, singers and actors.

Table of Contents
Chapter 1. Words

Chapter 2. Composers and Singers

Chapter 3. Singing and Text

Chapter 4. Voice/Music/Text I

Chapter 5. Voice/Music/Text II

Chapter 6. The Singer and Actor; and Beyond

Chapter 7. Vocal Examples

Chapter 8. Interviews with Singers

Chapter 9. Conclusions and a Way Forward

Chapter 10. Educational Activities

To appear in Scottish Music Review.

In 1917, the editor of a book of soldiers' songs made the startling claim that the Scots song " Annie Laurie " , rather than " Tipperary " , was the real favourite of British soldiers serving in the Great War. This article investigates the background to this claim, using material from soldiers' memoirs, from contemporary newspapers reports, and from the printed and recorded history of the song to trace what is, in fact, a much longer history connecting the song to British soldiers and the British military and beginning around the time of the Crimean War. Reflecting on what the available sources can and cannot tell us, the article also points to some of the methodological hurdles faced in any historical anthropology of music, but particularly one that takes music and war as its subject.

Passione e malizia nella canzone napoletana della Belle Époque di Giuseppe Sergi è un contributo importante ad una conoscenza più approfondita della canzone napoletana, perché mette in relazione la componente musicale delle canzoni e i discorsi su di esse, e perché entra nello specifico tecnico di un repertorio sul quale tantissimo è stato detto relativamente alle poesie che intona, alla sua fortuna locale e internazionale, al suo significato sociale e antropologico, ai suoi legami con la storia e con le altre arti, ma ancora troppo poco su come funziona in quanto musica. Ma è anche un contributo significativo all’analisi musicale come disciplina, perché conferma che un’analisi ben fatta non ci fa solo capire come funziona la musica stessa, ma è capace di farci entrare in contatto profondo con quanto sentivano e pensavano coloro che l’hanno scritta e coloro che l’hanno goduta — oltre che con quanto sentiamo noi stessi. (M. Privitera)

טיעונינו העיקריים מתמקדים בשתי תכונות מרכזיות, שלא
הובלטו עד היום בניתוח הזהות והתרבות הישראלית: ראשית,
גמישות גיאוגרפית יוצאת דופן העולה מדימויי הזמר העברי
בתיאורי ה”ארץ” וה”מולדת”. גמישות זו מרחיבה ומסיגה את
גבולותיה של המולדת על–פי מיקומו של הלוחם או המתנחל
היהודי האחרון, ומבדילה בין הארץ והנוף האמיתיים,
הקונקרטיים והמסוכסכים, לבין הנוף המדומיין והנכסף של
גיאוגרפיה יהודית–בלעדית. תופעה זו עומדת בניגוד ללאומיות
המדינית המקובלת ברבות מארצות העולם המתבססת על שטח
קבוע יחסית, עליו מובנית הטריטוריאליות הלאומית. שנית,
המימד המנרמל הטמון בזמר המושר, המושמע והמוצג יום–
יום במרחבים הציבוריים והפרטיים. הזמר הופך גיאוגרפיה
מעוותת זו למצב טבעי, נתון, נחשק ורב–יופי. הנרמול מובנה
באמצעות שיח תרבותי עקבי ופרקטיקות חומריות של תכנון,
פיתוח והתיישבות. אלה מוצגות כ"כיבוש השממה" ו"גאולת
האדמה", אך למעשה עוסקות בייהוד הנוף ודחיקתו והעלמתו
של הערבי.

В статье с опорой на категорию синтетического текста обсуждается вопрос о природе исполнительского сверхтекста песен Егора Летова. Выдвигается гипотеза о том, что концертное исполнение может включать в себя не только элементы театральности (перформанса в широком смысле), но и приобретать черты, свойственные современному художественному акционизму (перформанса в узком смысле).
Опубликовано в: Русская рок-поэзия: текст и контекст. Вып. 16. 2016. С. 177-186.

Carol Salomon dedicated over thirty years of her life to researching, translating, and annotating this compilation of songs by the Bengali poet and mystical philosopher Lālan Sāi (popularly transliterated Lalon) who lived in the village of Cheuriya in Bengal in the latter half of the nineteenth century. One major objective of his lyrical riddles was to challenge the restrictions of cultural, political, and sexual identity, and his songs accordingly express a longing to understand humanity, its duties, and its ultimate destiny. His songs also contain thinly veiled references to esoteric yogic practices (sādhana), including body-centered Haṭhayogic techniques that are related to those found in Buddhist, Kaula, Nātha, and Sufi medieval tantric literature.

Dr. Salomon's translation of the work is the first dedicated English translation of Lālan's songs to closely follow the Bangla text, with all of its dialectical variations, and is here produced alongside the original text. Although her untimely death left her work unpublished, the editors have worked diligently to reconstruct her translations from her surviving printed and handwritten manuscripts. The result is a finished product that can finally share her groundbreaking scholarship on Bāul traditions with the world.

Research suggests the idea of dual systems for first language (L1), with the default formulaic system storing and retrieving multiword chunks and the creative system analyzing words as single units within a generative grammar framework. This default reliance on the formulaic system by native speakers of a language allows for processing advantages and leads to idiomaticity. Second language (L2) learners do not appear to use formulaic language in the same ways as native speakers, which may account for the non-idiomaticity and slower processing speeds of even high-proficiency non-native speakers of an L2. In turn, this non-idiomaticity can lead to prejudice from native speakers of English. Relying on evidence from psychological studies of songs and memory, this study examined whether the use of English songs as a teaching method could discourage word-by-word analysis of instructed phrases and promote more nativelike holistic (i.e., formulaic) treatment of phrases. In this project, 2-year-old children from existing nursery classes in the United Kingdom with English or non- English home languages received exposure to 7 texts through either songs or stories over a 15-day period in a within-subject design. Knowledge of formulaic phrases was measured through an elicited imitation task, following the robust findings that children’s ability to imitate is based on their linguistic competence. Quantitative analyses revealed few significant differences between songs and stories; however, analysis of types of responses at the descriptive level revealed some interesting trends that could be expanded upon in future research. Implications for teachers of young learners and areas for further research are discussed.

The British Library possesses many bawdy songbooks of the 1830s that are unknown to scholars. These are finally being gathered together in a four-volume collection Bawdy Songbooks of the Romantic Period, under the general editorship of Patrick Spedding and Paul Watt. My role in this project was that of editor of the final volume, which contains songbooks published by Duncombe (1833–35), Smith (1834) and Lovelace (1833), and it is about those songs that I speak in my Belfast paper. Before the Obscene Publications Act came into force in 1857, the laws attempting to control bawdy material were weak and there was no power to confiscate or destroy such material. The songbooks are of interest for many reasons: the songs often name singers and venues, and reveal the appeal of underworld slang and ‘flash language’. The young bucks and university students buying these songbooks needed the help of slang dictionaries, which proliferated. The songs are richly topical, and comment frequently on contemporary social change, at the same time as enhancing our knowledge of attitudes of the period to sexual relations, gender (especially manliness), ethnic minority groups in London (especially Irish, Scottish and Jewish), religion, leisure activity, crime, social disorder, and the changes brought by industrialization and technology. In addition, the songbooks are interesting for the novel use they make of double entendres, puns, and innuendo, the tunes that they use, and the fondness for parody of existing songs.

Friederike Tegge; Pop songs in the classroom: time-filler or teaching tool?, ELT Journal, Volume 72, Issue 3, 19 July 2018, Pages 274–284, https://doi.org/10.1093/elt/ccx071

Teachers frequently recommend pop songs on websites and in experience-based articles to foster L2 acquisition. Such a positive stance contrasts with a scarcity of musical activities in published materials for adult learners and the small number of empirical studies investigating the use and usefulness of songs in L2 teaching. Consequently, pedagogical choices and their implementation depend mainly on the course instructor. This article reports on the findings of an international survey exploring teachers' beliefs about and teaching practices involving songs in the classroom. The findings reveal that informants often use songs as part of a purposeful and diverse teaching unit and based on reasoning that frequently reflects findings in cognitive-psychological research. However, song use can be impeded by a lack of official materials and support from other stakeholders.

Artykuł jest analizą trzech utworów Jacka Kaczmarskiego podejmujących temat sowieckiej niewoli: Czarnych sucharów, Świadków, Przypowieści prawdziwej o szaliku. W szkicu zarysowano sposób ukazywania przez poetę dramatycznych losów jednostek, które znalazły się w tragicznych okolicznościach, zagrażających ich przetrwaniu. Rozważania są osadzone w kontekście historycznym. Do analizy wymienionych utworów autorka wykorzystuje kategorie takie jak świadectwo, postpamięć, zwrot ku rzeczom

Słowa kluczowe: Jacek Kaczmarski, obozy NKWD, postpamięć, przedmiot,
świadectwo, druga wojna światowa

[And I miss black hardtack so much]: Dramatic Fate of an Individual in Soviet Captivity in the Works of Jacek Kaczmarski

The article is an analysis of three works by Jacek Kaczmarski dealing with the subject of Soviet captivity: Czarne suchary [Black hardtack], Świadkowie [Witnesses] and Przypowieść prawdziwa o szaliku [The true parable of the scarf]. The sketch outlines the poet’s way of showing the dramatic fate of individuals who found themselves in tragic circumstances that threaten their survival. The considerations are set in a historical context. The author uses categories such as “testimony”, “postmemory” and “turn towards things” to analyse these works.

Keywords: Jacek Kaczmarski, nkvd camps, postmemory, object, testimony, Second World War

Neste trabalho, tendo em vista a noção de canção defendida por Luiz Tatit, buscamos analisar peças de Lenine e seus parceiros, a partir da configuração estética que discurso verbal e musical ganham ao serem articulados. Em síntese, defendemos que a canção, sendo um gênero bastante peculiar, necessita também de um modelo peculiar de análise, que transcenda o seu plano verbal e atinja, também, o plano musical. Nesse sentido, defendemos que o analista de canções precisa conciliar esses dois saberes, para que possamos, com eles em consonância, interpretar os textos cancionais, considerando sua complexidade e particularidade.

My critical response will:

examine how women are presented in Woman is the Nigger of the World through how they are portrayed as marginalized, outcasted – and how this affects the language of the song

analyze the environment of the 20th century of American society to understand how social groups and non-governmental organizations active in terms of the civil rights of minorities in the country

explain how the context in which the song expands the meaning of Nigger identity to a person whose lifestyle is defined by others, whose opportunities are defined by others, whose role in society is defined by others

Le Conte des sept mendiants de Nahman de Bratslav (1775-1810) fut lu et admiré par, entre autres, F. Kafka, M. Buber ou S.Y. Agnon. Comme le veut la tradition des contes populaires juifs d'Europe orientale, il a été, en 1810, dit en yiddish lors d'un repas du Shabbat par son auteur. Il a ensuite été transcrit en hébreu et en yiddish et a abondamment circulé au point de devenir un des textes classiques de la littérature juive. L'originalité de cette édition est de présenter une nouvelle traduction du yiddish, à partir d'une des premières versions du Conte. Les peintures et dessins de Sandra Zemor, qui a su remarquablement transcrire l'univers spirituel de Nahman de Bratslav, lui font écho. Les correspondances entre les thèmes fondamentaux de la tradition juive et leurs résonances contem-poraines dévoilent ici plus que la légende. Loin d'être unique-ment une histoire juive des temps anciens, le récit et son accom-pagnement pictural doivent être abordés comme une médita-tion pour le peuple juif de notre temps. Sandra Zemor est une artiste reconnue. Elle a exposé en France, en Israël, en Italie et aux états-Unis. Elle travaille avec la matière, la lumière et les encres. Elle a récemment présenté un impressionnant ensemble de dessins et de peintures autour de l'univers poétique de Léonard Cohen. Elle réalise des installations, des vidéos, des objets peints et a édité quatre livres. Jean Baumgarten est directeur de recherche au CNRS. Il a publié des articles, des livres sur l'histoire culturelle du judaïsme ashkénaze, le hassidisme, l'histoire du livre juif et la littérature yiddish ancienne. Il a rédigé la préface, l'avis au lecteur (Pour se guider et se perdre dans le Conte des sept mendiants) et traduit le conte à partir de sa version princeps en langue yiddish. Prix public ttc (France): 24 €

Resumo: Forma cultural original do Brasil, o samba-enredo se transformou em instrumento de formação da consciência nacionalista junto às comunidades periféricas. A mitificação de fatos e a criação de heróis nacionais desde o início estiveram presentes na canção das escolas de samba. Neste artigo, estudare-mos as representações do nacionalismo e da etnicidade nas escolas de samba, particularmente em sua canção. O corpus se centrará nas duas escolas que estão há mais tempo em atividade, Portela e Estação Primeira de Mangueira, dos seus primórdios, nos anos 1930, aos anos 1980. Palavras-chave: Samba-enredo. Canção popular. Escolas de samba.

Religion plays an important role in human life. In a recent review, religiosity has been associated with prosocial behavior; although consistent, the association was weak (Saroglou, 2013). To understand religious prosociality, varying theoretical contentions were offered (Preston, Salomon, & Ritter, 2013). The present study tested Supernatural Monitoring Hypothesis and sought to identify the role of the thought of a watching God in a religious individual’s prosocial behavior. With this aim, an experiment was conducted with two groups of participants wherein the experimental group was primed with the thought of a watching God through a song translation. Results of independent samples t-test showed that religious participants who were primed offered more time for a volunteer work compared to those who were not primed. Implications of this study point to the role of the thought of a watching God - interestingly when primed through a song - in prosocial behavior.

Contemporary worship songs have been the subject of criticism over their lyrical quality. Objective assessment of the veracity of the criticisms has been difficult to achieve. This research seeks to address this issue by performing a textual analysis of the most popular hymns of the 19th and 20th centuries and contemporary popular worship songs and comparing the results. The research concludes that although there are differences in the lyrical content they are not crucial and that both contemporary worship songs and traditional hymns should find a home in congregational song.

This article presents the interpretation of 21 songs (composed between 1911 and 1927) by Irena Wieniawska (1879–1932), based on Paul Verlaine’s poems. The composer, also known as Poldowski or Lady Dean Paul, was a daughter of the famous Polish artist and violinist – Henryk Wieniawski, and Isabelle Hampton-Wieniawska. She lived and worked in Belgium and England. It is worth mentioning that Madame Poldowski knew some impressionistic works (among others Maurice Ravel’s) in France and these experiences influenced her artistic idiom.
First, the author analyzes the lyrics (main themes as well as the structure of Verlaine’s texts). Then the attention is paid to the music level: the author subsequently describes the basic musical elements such as melody, piano accompaniment, harmony, texture, form. In the third part of this article, following some of the rules (so-called corollaries) by Henry Woollett, the problem of word-music relationships in Wieniawska’s songs is discussed. In conclusion the author suggests that Madame Poldowski’s vocal-instrumental pieces represent the genre of French mélodie because of verbal transparency (recitative and syllabic treatment of text) as well as harmonic and formal complexity, and variability. A hypothesis is put forward that this aesthetics is a reinterpretation of common symbolist features in music.

This article discusses the song traditions of South West Scotland. It asserts that these traditions--despite being well known, and well documented in the eighteenth and early nineteenth centuries (Burns, Cunningham, Scott)--were neglected in the twentieth and early twenty first.  Modern collectors are starting to rediscover this hidden aspect of the past, which has potential for regenerating and regeneration.

O acordeão é o meu instrumento favorito. Não resisti à tentação de fazer uma versão com este magnífico instrumento que é também uma marca de Portugal. Espero que gostem!

Amar pelos dois
Letra e Música: Luísa Sobral
Intérprete: Salvador Sobral

Canção vencedora do Festival da Canção em Portugal e com lugar já garantido na final da Eurovisão 2017 (Eurovision 2017).

This study identifies the correlation between Art and Formula within commercial songwriting by identifying and explaining songwriting techniques. A song should express a specific emotion and message, so the listener can feel a connection to the song, giving the song a purpose. But in order to do this, the song must first communicate to the listener, transparently. Form, Lyrics and Harmony are the three pillars to songwriting, and when they work in unity, they create prosody. Prosodic songwriting is crucial when expressing emotiveness, as that is how the song will communicate. This could potentially make the song more appealing to a larger audience.
There are specific formulas and techniques regarding the three pillars that are used by professional songwriters, and heard time and time again in their songs. This draws upon the formulaic approach to songwriting, which could be overlooked, as music is an art form. This study discusses how art and formula are intrinsically linked in commercial songwriting. The formulaic elements to songwriting regarding the three pillars help to communicate a particular emotion, idea, message and mood clearly to the listener, ultimately creating an expression through art.

The songs by Rachmaninoff represent the superlative manifestation of Russian vocal lyrics, what makes these songs a perfect material to research interrelations between music and poetry. Structural interaction between poetry and musical components in Rachmaninoff's songs is studies by using the method of time series analysis. Time dynamics of two indices are compared. Stress index is used for describing poetry component of the song and pitch/duration index is used for describing its musical part. The methodology of comparative study is demonstrated on the example of three songs: All was Taken from Me, The Fountain and What Happiness. Time dynamics of pitch/duration index is turned out to be a complex phenomenon. It combines a general trend with cyclical fluctuations, for description of which the notion of a poetry-musical period (strophe) was introduced. As a rule, a whole period corresponds to four lines. The intonation contrasts are more explicitly expressed in musical components of the songs than in poetry ones.

Printed educational materials such as teacher’s handbook may affect the quality of education as much as teachers, curriculum, educational environment, and the other course materials. Perspectives of eighty-two pre-service elementary teachers regarding the activities and songs included in the teacher’s handbook for music course were examined by content analysis for shedding light on the nature of the handbook and for producing knowledge about how an effective teacher’s handbook for music course may be like. Even though the question was deliberately worded to let respondents express their both positive and negative views, the number of respondents who expressed positive views and the frequency of such expressions were considerably lower compared to the negative ones. Inappropriateness for age group and learning outcomes, insufficiency for facilitating learning, requiring hard-to-attain materials, and difficulty of application raised as major concerns for both activates and songs. Addi...