Childhood Songs Research Articles

That song in my head: a review on Musical Hallucinations

IntroductionHearing music inside our heads is frequent, however some hear it more vividly, constantly and involuntarily. Musical Hallucinations (MH), first described by Baillarger in 1846, are a complex type of auditory hallucination characterized by perception of melodies, music, or songs.ObjectivesThis work aims to review the literature considering MH.MethodsPubmed and Google Scholar search using MeSH term “musical hallucinations”ResultsMH occurs in 0.16% of the population. They´re usually perceived as frightening or annoying. Proposed mechanisms include spontaneous activity triggered by sensory deprivation from hearing impairment, like in visual hallucinations in Charles Bonnet syndrome, and some authors even include MH as a subtype of this syndrome. Indeed, 60% of all patients with MH have hearing impairment or deafness. Other less frequent causes include focal brain lesions involving the auditory pathway and cortex, temporal epilepsy, metabolic or drug intoxication. Psychiatric conditions are uncommon but not impossible, especially in affective disorders. MH most frequently consist in familiar tunes, sometimes of personal significance, religious songs (especially in older patients), childhood songs, folk and popular songs from the radio - suggesting that musical perception is never unlearned but represents a “parasitic memory”, an unchangeable memory feature which can be experienced by relevant neuronal circuit stimulation. Most patients with MH were reported to have no extraordinary musical skills.ConclusionsMH are rare and strongly associated with hearing loss, though investigation of other causes should be sought. Treating the underlying cause is important but remission is not guaranteed.DisclosureNo significant relationships.

STIMULASI LAGU DALAM PENGEMBANGAN SENI ANAK USIA DINI

This research is motivated by the importance of providing song stimulation in the development of early childhood arts, while in reality the provision of song stimulation by teachers in schools still limited due to the limited production of children's thematic songs. So that it takes the teacher's ability to create simple songs according to the thematic needs of learning. This study aims to provide the elements of children's songs, namely melody, harmony, rhythm, lyrics, and tempo. Type of research used is literature study. Data were collected by reviewing and reviewing several relevant reading sources, such as scientific journals and related reference books. Furthermore, the elements that must be considered in early childhood songs are analyzed. From the research, the results show that the lyrical elements of children's songs must be positive and simple, the range and jump of the melody is right, the use of basic harmony starts and ends with level I chords, the use of a 1/4 or 1/8 rhythm, and the tempo according to the impression of the song to be shown. Thus the teacher can continue to provide song stimulation in the development of early childhood arts.

Lantunan Masa Kecil dalam “Lullabybianu”


 “Bibi Anu”//Lamun payu luas manjus/Antenge tekekang//Yatnain ngabe masui//Tiyuk puntul//Bawang anggen sasikepan. The folk song which has deep meaning and full of messages is always ringing in the hearts of Balinese children. Moreover, mother's love for her beloved child in simple lyrics and tones in the "Bibi Anu” indicates that every child should always be alert, preparing for every circumstances. However, today, the song is getting drowned, considered obsolete and is marginalized. There is an impression that singing traditional songs such as "Bibi Anu" is regarded out of date so that such kind of song is not favoured anymore. In social media which develop rapidly, traditional songs such as "Bibi Anu" are rarely seen. Therefore, the composer wants to compose it newly, into a project named "Lullabybianu", i.e. from the words lullaby and "Bibi Anu". Lullaby is a universal song sung for children. This project is a form of presentation of the musical composition that comes from the desire of the composer to pick a traditional childhood's song in Bali, especially pupuh pucung into a new musical work performed with a combination of Western and Balinese musical instruments. In this case, the composer combines Western and Balinese music through an ansamble of cello, piano, saxophone, percussion combined with gender rambat traditional instrument, flute, and vocals. "Lullabybianu" is composed basing on the musical science of harmony and other musical theories in which there are special rules that bind so that the notation of this work will be good and true.

Genres

Genres Claudia Nelson Picking up from our most recent special issue and its focus on genre in African American children’s literature, the articles included in this general issue focus on a range of genres, and especially on what happens when genres collide. How may the characteristics of one set of texts inflect the content, outlook, characterization, or theme of a work affiliated with another set? Together, the articles in ChLAQ 42.1 help illustrate the dynamism of children’s and young adult literature as a body of work that uses the preoccupations made familiar through one genre to complicate others. We begin with a little-studied group of American texts, examined in Allison Speicher’s “The School of One Scholar: Schoolmistress-Schoolboy Romance in the Nineteenth-Century School Story.” Writing against a nineteenth-century convention that saw the potential affection between female teacher and male pupil as analogous to the bond between mother and son, the authors whom Speicher discusses see the relationship rather as fundamentally erotic. This marriage of school story to romance results in a collection of fictions that, Speicher observes, “consistently, if not always confidently, challenge age and gender norms,” effectively queering not only the school story and the romance, but also conventional Victorian assumptions about the “natural” limitations to the power of the schoolmistress. Like Speicher’s contribution, the second article in this issue, Dawn Heinecken’s “Contact Zones: Humans, Horses, and the Stories of Marguerite Henry,” looks at affectional bonds, in this case primarily those between humans and horses. Examining the 1949 Newbery medalist (Henry won this honor with King of the Wind) and many of her dozens of novels for children, Heinecken contends that Henry’s works should be understood in the context of current research into the posthuman, a field that embraces not only animal stories but also tales about figures such as mutants and cyborgs. For Heinecken, Henry’s interest in depicting animals and humans as interdependent agents—whose differing perspectives lead both to mutual fulfillment and to exploitation and pain—anticipates the way in which some much more recent science fiction deals with the ethics of interspecies relationships. [End Page 1] Michelle Ann Abate’s contribution to this issue, “‘Soda attracted girls like honey draws flies’: The Outsiders, the Boy Band Formula, and Adolescent Sexuality,” considers S. E. Hinton’s groundbreaking 1967 young adult novel in light of the conventions of the boy band, which Abate sees as an indispensable part of the teen culture of Hinton’s era. Tracing the similarities between Hinton’s characterization of the greasers and popular media portrayals of the members of groups such as The Beatles (in their early days) and The Monkees, Abate complicates the genre of The Outsiders by presenting it less as gritty social realism than as a response to a particular kind of music and its attendant journalism. In particular, she draws attention to how Hinton’s greasers reflect the power of both marketing techniques and adolescent sexual longings. In “Adaptations of Play Songs in Ghanaian Children’s and (Young) Adult Drama,” Helen Yitah likewise considers the confluence of music and literature in the decade of the 1960s, although her investigation is far from Abate’s both geographically and generically. The three Ghanaian dramas that Yitah discusses were produced within five years of one another, between 1965 and 1970, but targeted different age groups. All three, however, incorporate children’s play songs. As Yitah details, the use of this folk element enables each playwright to highlight tropes having to do with masculine vulnerability. By mixing genres, they draw upon “the repositories of their culture’s experience to communicate both the contemporary experience and the historical process out of which it grew,” employing traditional childhood songs to express concerns about adult manhood. Finally, in “The Monstrous-Feminine and Hegemonic Masculinity in Rick Yancey’s The Monstrumologist,” Sean P. Connors analyzes Yancey’s 2009 gothic horror tale for adolescents as a coming-of-age narrative that employs overt misogyny as a way of navigating a contemporary crisis in masculinity. If the works for the 1960s Ghanaian stage that Yitah examines use performances of children’s play songs as the focal points for...

‘Redemption Song’: Slavery’s Disruption in Amos Tutuola’s My Life in the Bush of Ghosts

Slavery is practiced throughout the realm of ghosts in Amos Tutuola’s novel, My Life in the Bush of Ghosts, and raises the question as to whether its presence in this realm is fully human. Slavery is presented in certain respects as an anti-human aberration: not only do the ghosts themselves implement varied forms of slavery, but also, at the climactic moment in the human realm, it is music, with its numerous humane associations, that possesses the power to surmount the vices associated with slavery. Tutuola’s hero-narrator deploys a childhood song to reach past the defenses of his slaveholding brother’s consciousness; the song locates in the brother not just the memory of his childhood with the narrator but also the deep love that imbues their bond. Accessing the liberating potential of human art and love, the narrator-hero touches in this way the brother he had known and ends his own enslavement. Tutuola does not assert, however, that family ties and the renewal of love alone will bring about a more general collapse of the hatred and profiteering that coalesce in slavery. Perhaps the sobering legacy of slavery in West Africa and beyond discourages him from expanding the redemption of one family into a more utopian representation of the end of slavery – or even of the older brother’s renunciation of his slave ownership.

Cultural Preservation Through Childhood Songs: The Vietnamese American Lens

Cultural Preservation Through Childhood Songs: The Vietnamese American Lens

Considering Gender: Representation in Early Childhood Songs and Implications for Practice

Considering Gender: Representation in Early Childhood Songs and Implications for Practice

Considering Gender: Representation in Early Childhood Songs and Implications for Practice

Considering Gender: Representation in Early Childhood Songs and Implications for Practice

Memory Walking with Urban Bush Women'sBatty Moves

Like the childhood songs and butt-shaking contests of Ghana, Batty Moves by the Brooklyn-based dance company Urban Bush Women celebrates the African American female form. The choreographer and the dancers share their memories of butt-tucking ballet classes, and the author shares her memory walk from Ghana to black America.

Brahms's "Wiegenlied" and the Maternal Voice

Brahms's familiar "Wiegenlied" op. 49, no. 4 (1868) is emblematic of numerous nineteenth-century compositions that sonorously enact idealized images of the mother and child. Its back and forth harmonic movement imitates the phenomenal sensation of rocking, and its interlocking syncopations support and interact with the emotive declamation of the singer's voice. Because its musical features are so easily accessible, the "Wiegenlied" has escaped music-analytical attention, its deceptive simplicity seemingly transparent to our music-theoretical gaze. Yet, certain aspects of this music render our familiar analytical or critical strategies inadequate for explaining the intuitions we have about it, aspects that suggest tracing their connections within a broader cultural and musical context. My discussion of the lullaby draws from a number of cultural theorists--among them Friedrich Kittler, Michel Chion, Gilles DeLeuze, Flix Guattari, and Theodor W. Adorno--to theorize the power of the mother's voice (la voix maternelle) in forming lifelong vocal and musical connections. I provide a close reading of Alexander Baumann's "S'is Anderscht" (1842), the Austrian vocal duet that inspired Brahms's composition of the lullaby, and a critical comparison of it with the lullaby. Finally, after uncovering latent etymological sources of several key words in the lullaby's text, I offer a hermeneutic re-reading of the poem, one that ultimately undermines our casual assumptions of this simple childhood song.

Music to the Impaired or Implanted Ear

Music to the Impaired or Implanted Ear

Rappin' Reader and Say Say OH Playmate: Using Children's Childhood Songs as Literacy Scaffolds in Computer-Based Learning Environments

This paper describes two computer-based learning environments, Rappin' Reader and Say Say Oh Playmate, that use the prior knowledge African-American children bring to classrooms as scaffolds for early literacy instruction. The study reports the results of using Rappin' Reader and Say Say Oh Playmate with low-SES African-American first-through fourth-grade students attending after-school tutoring/mentoring programs. This study seeks to investigate the benefits of using culturally responsive reading material and a computer-based learning environment in literacy instruction.

Music perception and octave generalization in rhesus monkeys.

Two rhesus monkeys were tested for octave generalization in 8 experiments by transposing 6- and 7-note musical passages by an octave and requiring same or different judgments. The monkeys showed no octave generalization to random-synthetic melodies, atonal melodies, or individual notes. They did show complete octave generalization to childhood songs (e.g., "Happy Birthday") and tonal melodies (from a tonality algorithm). Octave generalization was equally strong for 2-octave transpositions but not for 0.5- or 1.5-octave transpositions of childhood songs. These results combine to show that tonal melodies form musical gestalts for monkeys, as they do for humans, and retain their identity when transposed with whole octaves so that chroma (key) is preserved. This conclusion implicates similar transduction, storage, processing, and relational memory of musical passages in monkeys and humans and has implications for nature-nurture origins of music perception.

Music perception and octave generalization in rhesus monkeys.

Two rhesus monkeys were tested for octave generalization in 8 experiments by Wansposing 6- and 7-note musical passages by an octave and requiting same or different judgments. The monkeys showed no octave generalization to random-synthetic melodies, atonal melodies, or individual notes. They did show complete octave generalization to childhood songs (e.g., Happy Birthday) and tonal melodies (from a tonality algorithm). Octave generalization was equally strong for 2-octave transpositions but not for 0.5or 1.5-octave transpositions of childhood songs. These results combine to show that tonal melodies form musical gestalts for monkeys, as they do for humans, and retain their identity when transposed with whole octaves so that chroma (key) is preserved. This conclusion implicates similar transduction, storage, processing, and relational memory of musical passages in monkeys and humans and has implications for nature-mLrmre origins of music perception. Music is considered among cultures' highest achievements. Nevertheless, music from different cultures shares many characteristics. Among these common characteristics is that all music uses a limited number of possible notes. A limited number of possible notes helps to make songs memorable and reproducible. Other factors contribute to their memorability, reproducibility, and general appeal. Take, for example, the familiar tune Happy Birthday. There is no doubt about its memorability. The first four notes readily identify it. Furthermore, different sets of four notes separated by whole octaves suffice equally well to identify Happy Birthday.

Music in Diaspora: The View from Euro-America

Diaspora has been kind enough to host a small set of articles focused on diaspora and music in Europe and North America, to which these essays can serve as introduction. Music is central to the diasporic experience, linking homeland and here-land with an intricate network of sound. Whether through the burnished memory of childhood songs, the packaged passions of recordings, or the steady traffic of live bands, people identify themselves strongly, even principally, through their music. Yet ethnomusicology came late to the notion of diasporic musics. Trained in the standard ways of cultural anthropology, researchers looked for the indigenous and the ancient. Tradition-and-change models emerged strongly in the 1960s, but were still locally based. From the 1970s on, diasporic studies have appeared with increasing frequency, but have not kept pace with the burgeoning literature in other disciplines on deterritorialization and postcolonialism. No one has formulated a worldwide viewpoint on music in diaspora, most work being done in the United States among “ethnic groups,” with more recent efforts being made in Europe to look at “immigrant/guestworker” contexts. Newer work, such as Jay Pillay’s, on Indian music in South Africa, is starting to expand the geographic horizon.

Froebelian Implications in Texts of Early Childhood Songs Published Near the Turn of the Century

Genuine Froebelian implications in early childhood song texts depend upon the extent to which they adhere to Friedrich Froebel' s goals and purposes, rather than whether they refer to him or paraphrase his material. Turn-of-the-century songs sometimes neglect genuinely childlike, and thus Froebelian, considerations. Even the most important revision of Froebel' s Mother-Play and Nursery Songs, Susan Blow' s The Songs and Music of Froebel' s Mother-Play, leaves something to be desired in genuine Froebelian philosophical thought. Texts that deal with religion, morality, and ethics tend to tell rather than to suggest subtly and therefore miss a fundamental Froebelian methodological point. Only those song texts that accurately reflect Froebel' s teachings, philosophy, and methodology have truly Froebelian implications.

The Early Childhood Song Books of Eleanor Smith: Their Affinity with the Philosophy of Friedrich Froebel

Eleanor Smith (1858–1942), known as an outstanding composer of children's songs, was perhaps the most significant musician to embrace the philosophy of Friedrich Froebel. In the prefaces to her books Smith acknowledged her indebtedness to Froebelian theory, and her work was consistently tied to his education concepts. Smith integrated Froebel's theories into her compositions, particularly her Songs for Little Children, Part I (1887) and Part II (1894), and Songs of a Little Child's Day (1910). This combination of philosophy and music composition results in quality song materials that still find their way into recently published song books. Smith's success in music education was due largely to the actualizing influence of Froebel, who would have applauded her unique contribution.

The Early Childhood Song Books of Eleanor Smith: Their Affinity with the Philosophy of Friedrich Froebel

The Early Childhood Song Books of Eleanor Smith: Their Affinity with the Philosophy of Friedrich Froebel

Some New Evidence for the Romance Origins of the "Muwashshahas"

According to the mediaeval Arab literary historians, the muwashshaha was born in Spain, al-Andalus, about the year goo A.D. Spain was on the periphery of the Muslim world, and the vast majority of the Muslim population was in fact made up of converts of peninsular racial stock. All the evidence points to the existence of a population that was largely bilingual in Romance and Arabic. Since the wives of most of the Arabic speakers in the first century of Muslim rule would be Romance speaking women, their progeny would naturally be bilingual. It is noteworthy that Romance would be the language of mothers, a delicate feminine tongue associated with tenderness, childhood songs and lullabies, mothers and women in general, while Arabic would be the language of religion, politics, administration and sophistication, a tongue associated with masculinity. These considerations of themselves help us to understand the emotional impact that a kharja in Romance would have, as the culmination of a muwashshaha in Arabic. S...