Classical Songs Research Articles

Music therapy: auxiliary method of habilitation in infants with perinatal pathology during the first months of life

A review of the literature presents the history of the use of music therapy in the treatment of a variety of diseases, both in adult clinical practice and in neonatology and pediatrics; there are described various musical and therapeutic programs considered as a part of complex, specially developed, methods of non-drug rehabilitation, with the presentation of indications and contraindications for this type of therapy in newborns and infants; possible neurophysiological justifications for the use of melodic and rhythmic support of infants with perinatal pathology are presented, as well as the prospects of using music therapy in the practice of nursing newborns, including premature babies, suffering from combined perinatal pathology, in the structure of restorative treatment (habilitation) of children, as an auxiliary method that mildly potentiates the effects of the main methods: physical and medicinal. Currently, in the leading perinatal centers of the country, the opportunity is being created for babies to listen to music as part of multi-sensory developmental care. Specially processed short fragments of instrumental and vocal works by V. Mozart are used in recording, fragments of works of other classical composers, singing lullabies and folk songs performed by his mother. The reliable potentiating effect of musical therapy on adaptation responses of the immature nervous system is established, the connection of enrichment of the external environment with long-term outcomes of the perinatal lesion is discussed. The combination of tactile kangaroo stimulation with the vocal influence of the mother has been proved to have a greater effect than the use of musical fragments in recording, and a strictly individual approach is needed to use music therapy in premature immature infants to avoid undesirable consequences.

TEACHING ENGLISH TO YOUNG LEARNERS BY MEANS OF SONGS AND FOLK TALES WITH INDONESIAN SETTINGS: INDONESIA – INDIA GLOBAL PROJECT PROGRAM

Global Project (GO PRO) project mainly aims at creating competent students in four English skills with the global knowledge. One of the most pivotal aspects of GO PRO is live-video conference. The Indonesian classical songs and folktales were translated to English and performed in the conference representing Indonesian local wisdom. The teacher’s narrative writing was the source of this research data to explore how she organized the activities to support the live-video conference. To complete, semi-structured interview was employed for investigating the advantages of the event for the students’ experience in global communication. The data were narrated by grouping them in themes as it is suggested by the Narrative Inquiry design. It was found that GO PRO has benefitted students from Indonesia as the opportunity in performing the songs and folktale in English motivated them to practice their English more actively and frequently. For Indian students, it contributed to their new insight about Indonesian local wisdoms.

AZƏRBAYCANIN MƏDƏNİ İNKİŞAF DÖVRLƏRİ

The musical history of Azerbaijan is a part of understanding of the ancient past of Azerbaijan. The universally recognized development peculiarities of Azerbaijan are the result of the specific musical culture of the Azerbaijani people. Difficulties of studying the ancient music culture of Azerbaijan are directly related to the absence of leading sources and indirect references. Oral traditional folklore, folk song creativity, fiction and archaeological monuments are the main sources of the study of the past of Azerbaijani culture. It is important to preserve the authenticity of classical music and folk songs of Azerbaijan, starting with the ancient ancestors of the Azerbaijani people: thousands of years before our era had a different historical effect on the Medians, the Caspians, the Albanians and other tribes. The extensive trade routes passing through Azerbaijan, the Silk Road, the invasion of various tribes as Huns- Suvars (in the VII century BC), Romans (at the beginning of our era), Khazars (VI - VII centuries), Cumanses (IX - XI centuries), Seljuk Turks (X-XI centuries), Mongols (XIII century), Persians, Arabs and had their specific impact on Azerbaijani folk music and culture. The broad and sophisticated international trade junction of the Middle East countries certainly came to Azerbaijan. Latin and Greek inscription about Domitian’s, XII Roman legion being on the shores of the Caspian Sea, were discovered on Gobustan rocks at the end of the first century The great Norwegian researcher and traveler, Tur Heyerdal in his scientific findings made a special place for Gobustan boat descriptions and considered similarity with the Sumerian culture. He also stated that, the civilization of Arabian Sea had contacted with Gobustan[5]. The Khazars are one of the oldest and most widely spread ethnic groups in the Eastern and Central Transcaucasia. According to ancient and old Oriental sources, during the existence of the Achaemenid rule (6th-4th centuries BC), they established ethno-cultural relations with their close neighbors, as well as with peoples who were relatively far from them. Key words: music history, archeological monuments, classical music, ancient tribes, folklore

Preparation of future music teachers for school activities on classic songs

Preparation of future music teachers for school activities on classic songs

ANALISA GAYA LAGU KLASIK GAMBANG KROMONG “POBIN KONG JI LOK’

Nowadays, the existing repertoire of the classic songs of gambang kromong is very apprehensive. Dozens of gambang kromong's classical songs developed comprehensively at the end of the 18th century, but in the present, there is only one song that is still possible to play, namely "Pobin Kong Ji Lok". Even, as a matter of fact, this song can only be played by an old music player. Based on the aforementioned problems, it is necessary to conduct documentation of "Pobin Kong Ji Lok" song, associated with an analysis of its musical style. "Pobin Kong Ji Lok" will be documented in the form of audiovisual, transcribed in the form of notation, then analyzed its style of music through the most prominent musical elements, including the musical scale, harmony, tuning system, rhythm, and the timbre of musical instruments.

We’d love to turn you on: Considering Bakhtin and the music of The Beatles, ‘A Day in the Life’

From the Sgt. Pepper’s Lonely Hearts Club Band album, this article re-reads The Beatles’ classic song ‘A Day in the Life’. Our re-reading uses Bakhtin’s chronotope. While ‘A Day in the Life’ was released in 1967, our chronotopic perspectives of it are timely. In using the chronotope to re-read this classic, we have developed an equation linking utterance to culture, time, history, the individual and interpretation. In those ways, our article not only reveals how texts are interpreted within socio-temporal constructs, but through our equation also shows how other texts may be understood and interpreted. Indeed, our equation explains the process of interpretation. Applied to ‘A Day in the Life’, our interpretation reveals the relevance of the songs lyric and music to contemporary understanding that transcends ways of being and becoming. That understanding also reflects The Beatles’ own change from four ordinary Liverpudlians to global mega-stars. Our interpretation of ‘A Day in the Life’ shows how, through lyric, The Beatles addressed their celebrity by reinstating their ordinariness within the music and lyric of the tune. Consequently, and while we concentrate on ‘A Day in the Life’ our article provides a wider view and understanding of how text and music combine to generate a timeless understanding of both meaning and interpretation.

“Watch It Again and Again, Watch It a Thousand Times”: Riffing Off Appadurai’s Views on Repeat Viewing

This response to Arjun Appadurai’s paradigm piece “The Ready-Made Pleasures of déjà vu” turns on the example of the classic Bollywood song ‘Baar baar dekho’ (“Watch it again and again,” Chinatown, 1962), to elaborate on the pleasures of cinematic repetition captured by Appadurai’s interest in “repeat viewing,” or “watching as if for the second time.” By proffering the template of “call and response,” which derives from Africanist kinesthetic principles, in dialogue with Appadurai’s appeal to an Indic investment in “re-call and re-turn,” I examine how the protocols and structures of “spontaneous” improvisation constitute a shared yet divergent basis for a global, modern politics of pleasure. Through this strategy of placing in percussive play two cultural systems of rhythmic repetition, I posit the redemptive potential of repetition as difference as an answer to political mobilizations of repetition against difference.

CHULPAN AND MODERN UZBEK SINGING

This article is devoted to the work of the Uzbek poet A. Chulpan, whose lyrical lines are the basis of both national classical songs and modern ones. Abdulhamid Cholpon is one of the brightest representatives of the new Uzbek literature. The author of the article pays special attention to such works of Chulpan as “Guzal”, “Kalandar Ishki”, and “Uyqu”.

Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition

While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle of liberation (Mokṣa) founded in the worship of deities such as Brahmā, Vishnu, Śiva, and Goddess Sarasvatī. Medieval Tantra and music texts introduced the concept of Nāda-Brahman as the source of sacred music that was understood in terms of Rāgas, melodic formulas, and Tālas, rhythms, forming the basis of Indian music today. Nearly all genres of Indian music, whether the classical Dhrupad and Khayal, or the devotional Bhajan and Kīrtan, share a common theoretical and practical understanding, and are bound together in a mystical spirituality based on the experience of sacred sound. Drawing upon ancient and medieval texts and Bhakti traditions, this article describes how music enables Hindu religious experience in fundamental ways. By citing several examples from the modern Hindustani classical vocal tradition of Khayal, including text and audio/video weblinks, it is revealed how the classical songs contain the wisdom of Hinduism and provide a deeper appreciation of the many musical styles that currently permeate the Hindu and Yoga landscapes of the West.

Drawing Maps for Research in Creative Writing through A/r/tography

The return of Creative Writing to the academia was intended as an answer to rigid approaches employed in the nineteenth century’s teaching of English Literature. This comeback has since brought back a new perspective in seeing body of literature as a living body but at the same time also introduced clash between dominating research paradigm in the academia. The writers who were hired to teach creative writing tended to prioritise their creative practice, while the general consensus in academia called for more theoretical-oriented research. In order to compromise, the practice-based research method was born. Despite various justifications that creative process is the same as research inquiry, the heavier emphasis on creative works in this method still invites criticism, such as the lack of research rigour (Biggs & Büchler, 2007). New framework to balance and bridge practice and research rigour is thus needed – especially one that can accommodate the non-linear thinking trajectories in creative practices. Due to the possible non-linearity, the new research platform should not follow the reigning ‘arborescent scheme’ in the academic research tradition, but incorporate the concept of Deleuzian rhizome. A/r/tography – developed based on the premise of art and art creation as a rhizomatic process / activity – is proposed as one of the potential practices for creative writing research. The non-linear view of a/r/tography towards arts practices suggests a rhizomatic role in the mapping of creative writing process. As it addresses and accommodates multiplicities, a/r/tography also facilitates non-native English speakers to conduct and map his journey in art creation and research inquiry. Author’s project of writing a collection of bilingual poems based on classical Javanese song cycle – Sekar Macapat – is presented to illustrate the claim.

Lagu Anak Sebagai Repertoar Alternatif Pembelajaran Gitar Klasik Pada Anak Usia Sekolah Dasar

In general, the process of teaching classical guitar instruments in children still refer to the standard books that are sold in the market. In practice, children sometimes feel difficult in terms of mastery of the song both in terms of techniques and how to bring the song that causes them lazy or even not routine to practice. One strategy that is considered very telling is to use the repertoire of Indonesian children's songs. This strategy as one way to attract children in order to improve the skills of classical guitar playing. Emotionally, they (children) are certainly no stranger to children's songs. Thus, children will find it easier in the process of learning the classical guitar because it is so familiar to their ears compared to the classical songs in general that not necessarily all the children have heard it. Of course the child's song material as a learning material has been packaged into the classical guitar game.

Italian Progressive Rock as Indigenous Psychedelia

ABSTRACTProgressive rock was Italy’s manifestation of psychedelic music. The product of a meeting of conservatory-trained musicians and countercultural interests, progressive rock constituted much of the soundtrack to Italy’s own psychedelic renaissance as expressed in rock festivals and youth activism. More grounded in classical and Italian song traditions than in the blues, this music represented Italy’s psychedelicizing its own heritage. It was another mode of psychedelic rock, more cerebral and formal than unbridled and improvisational. Understanding progressive rock as Italy’s psychedelic music acknowledges the existence of different versions of psychedelia around the world and raises the idea of indigenous psychedelias.

Cardiac rhythm dance protocol: a smartphone-assisted, hands-on activity to introduce concepts of cardiovascular physiology and scientific methodology.

Physiology teaching resources have advanced to include innovative pedagogical approaches that meet the learning expectations of the current generation of students, while at the same time ensuring content delivery is accurate and the use of technologies is appropriate. We developed a quick experimental assay protocol to introduce the basic concepts of cardiac rhythms, and to demonstrate simultaneously that smartphone applications are a reliable and cost-effective tool for data collection in teaching the scientific method and performing physiology activities. The cardiac rhythm dance (CRD) protocol engages students in dancing a cardiac cyclelike movement to the rhythm of classical, pop, and samba music, and measuring their own cardiac frequency. Students collected their own data using the app Instant Heart Rate (Azumio). The CRD protocol allowed students to conclude that cardiac cycle-like movements paced by a pop song could represent the normal cardiac rhythm, whereas a classical song induced a significant reduction of heart rate, and the samba song significantly increased heart rate compared with the pop song. After group discussion, students considered that the pop rhythm is more realistic of day-by-day movement rhythms and is equivalent to the steady state of daily cardiac rhythms. Students considered the bradycardic and tachycardic movements to the dancing performed to the classical and samba rhythms, respectively. Thus the CRD protocol provides a multiple sensory-based and active learning resource that can engage students in learning cardiovascular physiology and recognizes smartphones as scientific instruments for collecting data during hands-on activities.

Drawing Maps for Research in Creative Writing through A/r/tography

The essay aims to review clashes in research methodologies for creative practices–especially Creative Writing–and to propose a possible solution to bridge it. A/r/tography–a research methodology developed based on the premise of art and art creation as a rhizomatic process/activity–is elaborated here as a middle ground between opposing schemes. The author’s project of writing a collection of bilingual poems based on classical Javanese song cycle–Sekar Macapat–is presented to illustrate how a/r/tography can be used to address various multiplicities and non-linear process in creative process.

A jeśli nie "wrocławska piosenka", to co?

The topic of the article is music that is strongly connected to the history of post-war, Polish again, Wroclaw — the city and its cultural, social and political landscape. This includes not only songs composed by artists from Wroclaw, but also songs dedicated to this city. In the article, songs from different timespans are analysed: the ones composed in the 1950s, in the pioneering period of restoration, as well as countercultural songs from the 1980s. The paper is complemented by an analysis of the newest songs that pretend to be hits or anthems of Wroclaw, although they have never gained the same fame as classical songs written by Maria Koterbska or new-wave band Klaus Mitffoch.

Egbert J. Bakker (Ed.): Authorship and Greek Song. Authority, Authenticity, and Per-formance. Studies in Archaic and Classical Greek Song. Vol. 3.

Egbert J. Bakker (Ed.): Authorship and Greek Song. Authority, Authenticity, and Per-formance. Studies in Archaic and Classical Greek Song. Vol. 3.

English

Goenawan Mohamad, an Indonesian writer, created a poem called Asmaradana that is derived from the classic Asmaradana song written by Tandhakusuma. Comparing the two works gives the impression that these two texts interact dialectically in giving the concept of fate and love. The ‘new’ Asmaradana from Goenawan Mohamad is a soliloquy about realistic attitude in facing destiny whilst the ‘old’ Asmaradana is a kind of assertive reflection from the main character, Damarwulan, in responding to an inevitable situation. It generates new meanings and interpretations, whether it is from the writer or the reader, when a new work is created based on the classic ones. This paper examines how the new Asmaradana shows new interpretation compared to its previous versions; its prior texts. This paper discusses four Asmaradana poems, two of which are the re-made versions from Goenawan Mohamad and the Putri Gunung Ledang movie soundtrack, and how they are interrelated. This paper takes focus on the interpolations of meanings shown in contemporary works that are different from their originals. This paper shows that the new works still follow the tone of the original works but they create new interpretations. Keywords: Intertextuality; intertextual analysis; literary transformation; Asmaradana poems;interpretations DOI: http://doi.org/10.17576/3L-2017-2301-07

An Essay on Liberal arts and Natural sciences Integration Education by Korean Classical Poetry and Songs

An Essay on Liberal arts and Natural sciences Integration Education by Korean Classical Poetry and Songs

〈書籍紹介〉小野恭靖著『歌謡文学の心と言の葉』

〈書籍紹介〉小野恭靖著『歌謡文学の心と言の葉』

More Than Bollywood: Studies in Indian Popular Music ed. by Gregory D. Booth, Bradley Shope

Reviewed by: More Than Bollywood: Studies in Indian Popular Music ed. by Gregory D. Booth, Bradley Shope Stéphane Dorin (bio) More Than Bollywood: Studies in Indian Popular Music. Edited by Gregory D. Booth and Bradley Shope. New York: Oxford University Press, 2014. xvi + 358 pp., photographs, illustrations, bibliography, list of films and music, index. ISBN 978-0-19-992883-5 (Hardcover), $105.00; 978-0-19-992885-9 (Paper back), $36.95. Both scholars and the general public often reduce Indian popular culture to cinema and especially Bollywood. In regard to music, the focus for decades has been on film scores, from the classical songs of 1950s and 1970s Bolly-wood movies to their contemporary versions, which have increasingly incorporated Western features such as bass sounds, rock music, or electro. But Indian popular musical life includes a variety of national and regional genres beyond Bollywood. Filmi music and its regional versions have mostly long remained under the radar of the international music industry and popular music studies. Academic interest in this topic was sparked by Peter Manuel’s seminal 1988 article in Popular Music, “Popular Music in India 1901–1986,” and his now-classic book Cassette Culture (1993). Since the early 1990s, Indian popular music has developed in many new directions due to the liberalization of the Indian economy and the growing inclusion of India in the global cultural field. These musical genres have had a smaller audience than film songs, and their leading musicians and singers have not attained the recognition and consecration of Lata Mangeshkar or Kishore Kumar. Globalization has nurtured a more nuanced knowledge of the variety of Indian music, and Indian middle classes and their musical tastes represent a great potential global market for the music industry and the Internet. That said, the study of Indian popular music still suffers from a lack of systematic ethnographic or quantitative surveys. In this sense, More Than Bollywood is a must-read and offers a foundation on which to elevate Indian popular music studies. This groundbreaking collection provides in-depth studies of national and regional popular music developments far beyond Bollywood, such as the incorporation of rock music in India (Greg Booth), recording techniques and regional music (Stefan Fiol; Shalini Ayyagari), or devotional music (Stephen Putnam Hughes). Links between film and non-film music are addressed via Bollywood’s incorporation [End Page 114] of DJ-ing and electro music (Paul Greene). Most of these case studies rely on thick descriptions grounded in ethnographic and interview-based approaches. The diversity of the case studies is mirrored in the questions the book addresses, which revolve around issues ranging from authenticity and technology (Peter Kvetko) to the construction of femininity in Malluwood (Malayalam cinema) songs (Kaley Mason). This collection brings together some of the finest specialists studying these less known developments of Indian popular music. It includes historical perspectives and comparative and inclusive studies of film and non-film music and of influences and contemporary remixes that are linking India more closely to the West and the global music industry. The book examines diverse musical genres, ranging from devotional music to remixing through rock and bhangra, as well as a great variety of urban and regional cultures. One could possibly regret the paucity of statistical indicators of the importance of these musical forms compared to filmi music and international repertoires. An exception is Booth’s historical study of the emergence of the Hindi song genre in Bombay in the late 1940s. Some surveys are available, for instance, through the International Federation of the Phonographic Industry (IFPI) and local market surveyors. They may put into perspective the initial phase of the market development of these old and new genres and who their audiences are. Readers may wish the essays were tied together through a common analytical framework, and in fact one could be derived from these various studies. Important factors in the development of non-film popular music are globalization, cultural hybridity, and the socioeconomic development of an emergent music market. Although the issue of authenticity is partially addressed (Peter Kvetko), as are cosmopolitanism and capitalism (Timothy D. Taylor), the book gives little historical perspective on the continuities and disjunctures between the...