Famous Song Research Articles

Using Kurdish Songs in the Piano Method

The nations of the world have paid attention to preserve their musical heritage in many fields, including education system and teaching music, and have used their musical heritage in their educational music programs, including the method of playing the piano which is the main aim of this research. Some of music composers have used popular and famous songs as an educational approach to teach the piano. Therefore, the researcher has selected some examples of famous Kurdish songs and used them for the beginner level. "Using Kurdish Songs in the Piano Method" is the combination of Kurdish song heritage with a very important instrument of music, which has a very important and influential role in the art of music in general, in the process of music education in particular. In this regard, this study uses Kurdish song heritage as an educational model for piano playing at the beginning level for adults. Many studies confirm that pieces of music and exercises that use the melodies of traditional and popular songs are the best teaching materials for teaching music. It also helps music learners to know their music heritage and it can strengthen their cultural identity as well.

Development Countermeasures for the Integration of Local Musical Cultural Elements into Piano Performance and Education under the Perspective of the Internet

Abstract This paper summarizes the communication methods of local music culture elements in the Internet perspective, combines the feature extraction and melody recognition of local music culture elements with Internet technology, and analyzes the communication effects and WCI values of music publics in media communication. It briefly outlines integrating local music culture elements with piano performance education, models musical features and piano notes. It analyzes the development of piano performance and education from the perspectives of teachers and students using multi-dimensional evaluation rules. Taking the famous song “Two Fountains Reflecting the Moon” as the experimental material, we analyze the dissemination effect of the works of local music culture elements played by two instruments: erhu and piano. Compared with the other public numbers, the total number of likes of Folk Song China is the highest, which is 12,494 higher than that of the music research public number, and the music works containing local music culture elements are more resonant to the public. The mean value of the piano group is “2.67”, higher than that of the erhu group “2.13”, indicating that the piano version of local musical works is likelier to be liked on the Internet. This suggests that the piano version of local music works is more straightforward to spread in the Internet environment, and its influence is more significant.

Способы имплицитного выражения эмоции недовольства и речевого акта обвинения в англоязычном рекламном дискурсе в контексте противостояния брендов

The aim of the research is to identify references to discourse implicature through culturally loaded texts and mythonyms in the context of an “advertising war”. Commercials for electric vehicles and accessories for traditional cars were selected as the research material. The commercials for the latter implicitly contain the idea of criticizing electric vehicles. BMW and Mobil 1 commercials in English were chosen due to the great interest of the audience in the very fact of their appearance: the videos were widely announced and discussed, being a newsworthy event in themselves. The authors of both videos address the general apperceptive base of a potential consumer using mythonyms, references to archetypes embodied in cinema, as well as the lyrics of famous songs. The scientific novelty of the research is accounted for by studying discourse implicature and the means of its expression in the context of an “advertising war”, as well as by carrying out a detailed analysis of implicit meanings transmitted through cultural stereotypes. As a result of the research, it was found that high-quality advertising of our time is increasingly moving away from direct exhortations to buy a product to implicit influence that is understandable to the target audience and arouses interest in the context of the confrontation between brands and types of goods.

A Phenomenon: Ion Pribeagu

Abstract After leaving the Jewish fair of Sulita, Ion Pribeagu, the author of the lyrics of a famous song, Zaraza, became known throughout Romania, and not only, for his humor, satirical verve, inspiring portraits, unexpected forms of intertextuality. Signing under different pseudonyms, such as Ion Pribeagu, he wrote about families, characters, gastronomy, world and its habits, with sparks of comic genius. Living more in Bucharest, where he had become a kind of living legend, emigrating and dying in Tel Aviv, Ion Pribeagu, through everything he wrote, conceived his own fair, something between Sulita and Bucharest, where Romanians and Jews have cohabited at will.

「三老問年圖」의 畫題와 圖像에 관한 小考

A painting's title can be divided into three main categories. The first is the title that the artist decides what kind of painting he or she is going to paint, the second is the title that the artist writes on the painting after the painting is completed, and the third is the title that someone else adds to the painting. The first two types of titles usually go well with the content of the painting, but the titles given by others are sometimes wrong for reasons such as a lack of understanding of the content of the painting. Especially in the case of auspicious paintings with hidden meanings or ancient figures with stories behind them, if the artist's intended code cannot be read, the title given by others will only describe the materials used in the painting. A painting depicting the story of “The Conversation of three old men” from Dongpozhilin volume 2, written by the famous Song dynasty writer Su Shi, would be titled differently in Joseon as “Three immortal asked their age” or “Three old men asked their age”, “Three people asked their age”, or “Three immortal watching the waves”. In China, the same painting is called “Three Old Men” or “Adding computing rods to ocean house”. By comparing and contrasting the similarities and differences between Joseon and Chinese paintings on the theme of “The Conversation of three old men”, this study aims to shed light on the process of transmission and transformation of this painting.

The Question of the Musical Message. The Semantic Capacity of the Expressive Structure

"Is it possible to communicate through music? Does music communicate something in particular? Is music like the message in a bottle – the meaning wrapped in the envelope of a form? Who would be the recipient of the musical message in this case – one, many, all of humanity, as in the IV parts of Beethoven’s Ninth Symphony? Or maybe just Captain Grant’s children? And how pertinent is the extrapolation of notional-discursive schema and logic to music as Mattheson did in Der Vollkommene Kapellmeister? Because this phrase – the message of music – immediately refers to both the suggestive neutrality of musical sounds and the emotional irrelevance of the relationships between them. Sounds are just sounds. Is a chord the analogy of the word, the melody the analogy of the phrase, and a whole articulation the substitute of a speech? Is music a language? Or, indeed, being both sonorous, but also processual and symbolic, just like spoken language, music does not connote in the same way. And if the language has prescribed references, then music does not. A chord, a melody, let alone a counterpoint, have no predetermined meaning, not even one resembling a notional one, even after the performance is over. Should the composer first be a very good connoisseur of human emotional behavior rather than a very good musician? Or, perhaps, a simple postman, as in the famous song of the Beatles? Keywords: message, communication, language, connotation, symbol, process, music"

Is There Anybody Out There? Young People from a Bucharest Deprived Neighbourhood in Search of Lost Echo. A photovoice exercise

This article explores in what way and to what extent the life of some teenagers from a disadvantaged urban community is affected by the relationship with formal institutions (school, town hall, police, social assistance, employers / labour market) and relationships with other members of the community (neighbours, friends, acquaintances). The first part of this title obviously refers to the famous song by Pink Floyd “Is there anybody out there?” (The Wall, 1979), but also to the song by Machine Head (2016) “Is Anybody Out There?”, the soloist of the band Rob Flynn saying that “The song is about love, loneliness, racism, and not getting what is going on in the world/America…It’s very much about current events, but applies to a bigger picture.“[1] The second part paraphrases Marcel Proust’s famous novel „In Search of Lost Time”, because the echo of the desires and needs of the young people we are talking about is not found in social policies and everyday realities. The participatory research took place within an illegal camp of recently evicted families, mostly Roma ethnics. Over 100 people (27 families) living in a yard of houses in Bucharest, were evicted on September 2014. The research team designed research using photovoice as a method, involving 10 youngsters from this community, focusing on topics like important things in their life; social relationships – group of friends / family; education; employment – future aspirations, the importance of education in finding a job; involvement / participation in community life. The main conclusion drove toward the fact that for (these) young people, the family is the cornerstone. All their values, dreams, aspirations and needs are gravitating around family and mostly in the absence of almost any effective institutional support. Although at the level of public and political discourse there is a declared interest in improving the situation of adolescents and young people (especially from disadvantaged social segments), included in various strategies, programs and projects and in the speeches of decision-makers and politicians, in reality “real life beats the written strategy”, the discord between the two practically leading to innovative adaptation and survival strategies … but marginal!

Cupido-Putto oder Weltmacht Eros? Der Calvinist Theobald Hock (1573–ca. 1623) wider den habsburgischen Hofkomponisten Jacob Regnart (1540–1599)

Abstract The Calvinist politician and diplomat Theobald Hock (1573–ca. 1623) published in his collection Schönes Blumenfeld (1601) the poem “Das Cupido kein Kindt sey” (Cupid is not a child). Hitherto hardly noticed, it is a clear palinody to one of the most famous song poems of the epoch, to “Venus du und dein Kind” (Venus you and your child) written by the Kapellmeister and poet-composer Jacob Regnart († 1599) who was in Habsburg service. Both authors lived in Prague for a short time before 1599. Hock did not protest primarily against the use of pagan mythologems, as did some Christian rigorists (such as J. Rist), but (in a critical obituary of his Catholic neighbour?) Hock polemically dismisses Regnart’s text as a document of a foolish superstition that was widespread even among the educated. He replaces it with a conception of an omnipotent Eros that goes back to Hesiod and Plato, apparently mediated by rinascimental Platonism (M. Ficino), and which accompanies and drives all creations, including man’s cultural and moral achievements. Hock thus joins critical questions that the puerile figure of the naked Cupid/Amor had also provoked elsewhere (for example in the emblem book of Andreas Alciatus).

Denotative and Connotative Meaning in Pamungkas Song Lyric “Queen of the Hearts”

A Song lyrics as a part of literary works is basically an art of language use. Song lyrics can be used by musicians to express their ideas, thoughts, feelings and emotions in the form of artistic words. The object of this research is a song lyric by a famous musician, namely Rizki Rahmahadian Pamungkas or better known by the stage name Pamungkas. Pamungkas is a singer, songwriter and also known as a music producer and have their music producer company namely maspam records that produce other great musician like; Oslo Ibrahim, Prince Husein and Morad. Pamungkas born in Jakarta 14th April 1993 known to be great musician who already has 4th albums and one rearrangement album such; Walk the Talk, Flying Solo, Solipsism 0.1, Solipsism 0.2 and the one that was recently released is birdy. One of his famous song was Queen of the heart that will be the object in this research which searching of connotative and denotative. This research uses descriptive qualitative methods and theory uses in this research is semiotics theory of Roland Barthes which is focused on a denotative and connotative meaning in Queen of the Hearts song. The result of this research show that several denotative and connotative meaning in Queen of the Hearts song like, “queen of the heart” queen, means and independent women ruled something that mentioned in this song which is heart. Because of that reasons, the researcher interested researching connotative meaning in Pamungkas’ song lyrics.
 
 Keywords: Denotative. Connotative. Pamungkas. Semiotics

Lirica populară de dragoste din aria Sălaj Codru

The Romanian folk lyric gives the interested reader a complex, interesting and all‑encompassing image of the issue of love, which, through richness, variety and artistic sophistication, fully confirms the native endowment of the anonymous creators and reveals the virtues, delicacy and soulful beauty specific to the Romanian peasant. In the present study, the author limits himself to the presentation of the specific faces of the pair of lovers, two partners of dreams, joy, happiness and often sufferings caused by love. The reference quotes come only from collections originating from Sălaj county and Codrului County, a territory that is currently divided between Maramureş, Satu Mare and Sălaj counties. Like the biblical bride and groom in the famous Song of Songs, our lovers mutually discover their beautiful and pleasant faces, which are attracted by uncontrollable mysterious forces. The situation of falling in love appears in images that reproduce particularly strong organic states, sometimes even the sensation of illness and the fear of death are present. He, mândrul, badea, drăguçul feels that love burns him and can bring him death. She, drăguça, mândra, nana, lelea îndrăgostită suffers from love’s disease as well. With all the waves of suffering, love brings young lovers beautiful moments of love. She gives birth to the song: Don’t be surprised that I cry, / Because I’m young and I love. / Bade, if you didn’t love me, / I would never cry. Cunning, hypocrisy and other human flaws are categorically rejected and the two can no longer meet. Only mutual physical attraction can be the foundation of a valid erotic relationship. The beloved, the proud, is metaphorically identified with a flower on earth and with the moon in the sky, and badea, the proud, seen as a beautiful fir tree and bright like the sun. Instead of conclusions, as is always the case, the author comments on the lyrical text Aşé‑i prúda sometimes, a comment that he reproduces in full and proposes to the reader to comment on a lyrical poem dedicated to the proud, Că, miucăță, faço lui, a text that is reproduced in entirety.

From Balaclavas to Ballyhackamore: Scott's Jazz Club, Belfast, Northern Ireland

From Balaclavas to Ballyhackamore: Scott's Jazz Club, Belfast, Northern Ireland

“Perchoo,” or the Music of Mourning

“Perchoo,” or the Music of Mourning

Motywy ukraińskie w polskiej muzyce gitarowej XIX wieku

The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music for English guitar tuned in G major (sources for this instrument appeared chronologically first) and for 6-string Spanish guitar. Composers have used stylized dances, mainly kozachok, for composing simple technical arrangements intended for domestic parlour music. Apart from four anonymous manuscripts for English guitar there are two anonymous kozachoks in manuscripts from the National Library of Poland in Warsaw and the Princes Czartoryski Library in Krakow and one kozachok in manuscripts from the National Library of Poland in Warsaw and the Princes Czartoryski Library in Krakow and one kozachok by Eduard Salle neuve. Also another form – duma / dumka – is popular among the19th century Polish guitarists; it has appeared both in the solo and in the original version, intended for vocal with accompaniment. The authors of dumki are, among others Jan Rywacki, and anonymous dumas are preserved in the Jasna Góra Monastery (Library of the Pauline Fathers in Częstochowa), the Jagiellonian Library in Krakow and in mentioned Princes Czartoryski Library. Solo improvised dumkas have been performed by the greatest Polish 19th century virtuosos – Stanisław Szczepanowski and Marek Konrad Sokołowski, as evidenced by extensive press coverage. Three composers – Jan Nepomucen Bobrowicz, Felix Horetzky and the less known Cyprian Leonowicz – also used the Ukrainian folk melodies, mainly as a basis for virtuoso sets of variations. Leonowicz’s piece, which is a kind of written improvisation, is based on the famous song Ikhav Kozak za Dunaj. The melody used by Bobrowicz is more difficult to identify, although the title of the piece indicates the Ukrainian element – Air d’Ukraine varié. Horecki arranged two melodies, including the song Ikhav Kozak za Dunaj, in technically simple arrangements. The Ukrainian thread also appears in the biographies of some 19th century Polish guitarists, including Sokołowski,Numa Łepkowski and Karol de Wyhowski. This article shows that Ukrainian folklore was the strongest foreign element in Polish guitar music of the 19th century. Areas requiring further research are also indicated – related to little-known sources(such as guitar manuscripts from Jasna Góra, the Jagiellonian Library or from the collection of Oskar Kolberg), as well as those concerning Ukrainian guitar music from the 19th century, practically unknown outside Ukraine.

Songs as a way of listening to cultures across generations? A comparison of Canada and the United States through their famous songs from 1975 to 2017.

Songs as a way of listening to cultures across generations? A comparison of Canada and the United States through their famous songs from 1975 to 2017.

Iban Pop Song: Identity, Unity, and Belonging: A Public Perception Survey in Sarawak

Popular music has been known to convey a sense of togetherness and affiliation among diverse populations in multiethnic and multicultural nations. Malaysia is a unique case where local mainstream popular music has expressed a collective sense of unity and belonging among its multiethnic citizens and communities. Although numerous studies have examined this phenomenon, very little research has been conducted about the role of local indigenous popular music in communicating a sense of connectedness and inclusion among Malaysians from diverse backgrounds. The study presented in this paper set out to examine this by focusing on the role that Iban pop songs played for that reason. Through a public perception survey, the study gathered the views of 82 respondents from the Southern, Central and Northern regions of Sarawak on the famous Iban pop song, Biar Bekikis Bulu Betis by Andrewson Ngalai in terms of how it helped create ideas about unity and belonging among Sarawakians. The findings revealed that the participants asserted that Biar Bekikis Bulu Betis instills pride because it is synonymous with various occasions. The results also showed that the Biar Bekikis Bulu Betis song made the Sarawakian proud of their origin. The study has implications for future research as it highlights the necessity of acknowledging that the popular musical genre of the indigenous community can bring people together and feel closer to their home country.

Clapping Along or Clapping Back: Of the Discourse of Hijra Community’s Resilient Happiness in Y-Film’s Hum Hain Happy

Eva Illouz, whilst discussing her text Manufacturing Happy Citizens in an interview, points out that happiness in a neoliberal economy has become a way to measure our self-worth especially as it is individualised. Being happy, thus, means to be able to strive despite the odds and yet be optimistic: to be happy in a neoliberal setup is to be resilient. Indeed, resilience means bouncing back and putting your best foot forward in the gravest of circumstances, showing strength when things are against you: to be happy despite the odds. Keeping this aspect of resilience in mind, this essay is interested in broaching a more specific question: what happens when a structurally marginalised group is called resilient—when value of the group is solely located in its capacity to bounce back and remain within and not resist status-quo? The structurally marginalised group I will be referring to is the hijra community in India and I will discuss the idea of happiness in a video produced by Y films, the youth division of one of India’s biggest film production houses: Yash Raj films. The music video produced in 2016 is named ‘Hum Hain Happy (We are happy)’, a Hindi rendition of Pharrell William’s famous song of the same name, features six hijra community members from the city of Mumbai. The essay here offers a ‘friendly critique’ of the video’s efforts towards mainstreaming trans inclusion in representational practices which romanticise the struggle of the marginalised by valorising resilience as an inspirational response to systemic inequality. My critique, thus, does not invalidate representational practices in total but calls for looking at the dominant logics through which such representation is rendered possible. In so doing, I look at how the video’s narrative serves to quell collective resistance by translating individual resilience within status quo as happiness. On one hand, the makers of the video see the oppressed as valuable and respectable only in term of their resilient happiness and relatedly, by pedestalising this resilience as inspirational, essentialise/naturalise systemic inequalities and conditions of struggle. Anything that deters from this pedestal then is naturally seen as a negative response and not aspirational/inspirational. The essay first contextualises the video in the contemporary conditions of transgender rights in India and then proceeds to analyse its content regarding the narrative of resilience which obscures the conditions of transgender struggles in India, while elevating their positive attitude as inspirational, effectively obscuring the realities and possibilities of righteous rage and resistance.

Προπεμπτικόν (propemptikon) – żywy gatunek literacki sięgający antyku

The article concerns a little-known and unique literary genre called propempticon, which dates back to the times of archaic Greece and the poetess Sappho. The propempticon flourished in the Hellenistic era, and then it was used wherever Mediterranean culture reached. The definitions of propempticon in different epochs are not the same, the theory of the literary gene applies to its description. Propempticon is also cultivated today in modern languages, albeit with various modifications, and an example of this can be the famous song by Andrea Bocelli under the title „Con te partirò”.

Not Dead Yet

This essay concentrates on the relation between song and history in the lives of the enslaved and the afterlives of slavery, particularly by tracing the history of the song “Take Him to the Gulley,” which became known as “the famous slave song of Jamaica.” Thinking alongside Katherine McKittrick’s and Sylvia Wynter’s work on plantation geographies, the author argues that the gulley, a site of mass burial in the center of the song, was also a site of Black cultural expression and futurity—a place where death and life, torture and escape, enslavement and freedom collided and shaped each other. The essay traces the song as both a mode and a performance of history, in which, through the workings of reclamation, remembrance, and redress, an enslaver’s perverse punishment became a people’s history.

The Image of Sea Maid in the Poetry of K.D. Balmont

The article is a complex case study of 23 poems presenting the image of the sea maid in lyric poetry of K.D. Balmont. The following conclusions has been made in the course of the works: the image of the sea maid tends to be frequent in love and erotic lyrics and is linked with decadence motives; many texts are permeated with characters of Slavic folklore, besides, it is important that some poems are poetical ‘renditions’ of famous epic songs and legends from Russian, Polish and Lithuanian folklore. Still most of the poems with folklore symbolism answer aesthetic views of the poet himself and are linked to his solar cult and his understanding of the sun as a universal creative principle, and to Balmont’s conception of beauty and harmony as a synthesis of opposed nature elements. The image of the sea maid is multifaceted in Balmont’s poetry, its development expresses the evolution of author’s worldview from typical decadence erotic and mortal motives aesthetic understanding of the nature of beauty and integrity of the world.

The Chinese Art Song, yishu gequ: Between Tradition and Modernity

The Chinese art song, yishu gequ 藝術歌曲, is a typical genre of New Music (Xin yinyue 新音樂) of the May Fourth Movement. Such pieces were primarily composed by Chinese graduates of European and American universities who found inspiration in European Romantic art songs, especially nineteenth-century German lieder. The existing Western literature about this genre emphasizes the connections between the Chinese art songs of the twentieth century and European Romantic songs and does not consider any relationship with the domestic Chinese tradition. Publications by Chinese scholars also do not examine in any detail specific connections to the Chinese tradition at the ideational level. As this paper demonstrates, the Chinese art songs that emerged during the May Fourth Movement were not created solely by following a Western model. Their uniqueness is the result of combining the search for “new culture” with the significant traces of domestic roots in the social role of music and the tradition of joining words and music in a single artistic whole. The paper first explores the emergence of the art song in the context of Chinese musical modernization, and then, through citing theoretical works and analyses of select compositions by three of the most famous art song composers – Xiao Youmei 萧友梅 (1884–1940), Zhao Yuanren 趙 元任 (1892–1982), and Huang Zi 黃自 (1904–38) – it demonstrates the various approaches to creating art songs, especially in terms of how they were related to the domestic tradition. I have chosen examples that allow us to observe the gradual adoption of an originally European genre in the Chinese cultural environment and various factors that influenced how this genre changed. I also examine the changing ways in which this foreign genre interacted with the domestic Chinese environment.