Form Of Songs Research Articles

An Analysis of Traditional and Contemporary Children’s Songs With Considerations for Music Therapy Practice

Abstract Children’s songs include a diverse collection of traditional and contemporary songs. (Yinger and Springer [2016]. Analyzing recommended songs for older adult populations through linguistic and musical inquiry. Music Therapy Perspectives 34, 116–125. https://doi.org/10.1093/mtp/miu048) analyzed musical and textual features of songs used by music therapists with older adults; however, studies on children’s songs in music therapy have not included musical and textual features analysis. Our purpose with this study was to analyze the musical and textual features of a sample of 20 traditional and 20 contemporary predominantly U.S. children’s songs and consider applications for music therapy. Text information was collected, including total and unique words, the song topic, and potential applications. Musical information was collected, including form, melodic range, and harmonic/chordal structure. Findings included that the traditional songs were strophic, had fewer overall words, were harmonized with three chords or fewer, and had melodic ranges of five to seven notes. By contrast, contemporary children’s songs used complex song forms, had more words, were harmonized with more than three chords, and had melodic ranges of eight or more notes. Song topics and applications had similar codes across the song types. A music therapist may apply traditional songs in clinical work, where a simpler musical structure and fewer words support the client’s needs. Likewise, a music therapist may apply contemporary songs for greater musical complexity and more vocabulary. Future studies of children’s songs in music therapy could include an analysis of music therapists’ composed songs and songs used by music therapists who work with young children.

An analytical look at some Romanian choral works from the First half of the XXth century

Choral music at the end of the 19th century and the beginning of the 20th century is rooted in the folk art of Romanians, an art preserved to this day in the monodic form of folk songs, peasant dances, and church melodies. Modal melodies, whether chromatic or diatonic, modal harmony and polyphony, particularly attractive heterophony, and the intense variety of timbre and rhythm are expressive means through which the choral music of this period enriches the national treasure. Music has the immense quality of being able to „absorb” the specific sensitivities of each nation, and the composers of the first half of the 20th century in Romanian choral music constitute landmarks in the national musical universe. Both their cultivated works and their folk arrangements are musical jewels of value that must be promoted.

1920년대 대한민국 임시정부 주관 기념행사와 항일노래

This study examined the aspects and historical roles of anti-Japanese songs created and sung during the activities of the Provisional Government of the Republic of Korea in Shanghai, China, which resisted Japanese imperialism’s invasion of Korea. It is intended to clarify the reality and significance of cultural and artistic independent activities by analyzing the types and contents of anti-Japanese songs sung at various commemorative events held by the provisional government. First, the Shanghai Provisional Government celebrated March 1, the day of the declaration of independence, as a national holiday, and August 29 as a national Humiliation day. In addition, October 3 of the lunar calendar was established as “Foundation Day” and commemorative events involving temporary government factors were steadily held. At the site of this anniversary event, various anti-Japanese songs, including “The National Anthem,” were made and sang together to strengthen their will to resist Japanese. Second, the March 1st Independence Day event was held as a “celebration ceremony to commemorate the Declaration of Independence” in which lawmakers, government ministers, and students gathered within the parliamentarians. Participants sang “The National Anthem” based on the tune of “Auld lang Syne,” and mainly sang “Samiljeolga” and “Independence Army Song.” Independence Army Song is a representative Manchurian independence army song that was sung a lot in the 1910s, and the tune is borrowed from the American military song “Marching Through Georgia”. Third, on August 29th, the National Humiliation Day, “National Humiliation Song” and “National Humiliation Memorial Song” were mainly sung. On October 3rd of the lunar calendar, great religious figures and government factors attended the National Foundation Day and mainly sang “Shinga”. Fourth, various forms of memorial songs, including Requiem, were sung at an event to commemorate the martyrs who died during the independence movement. The memorial song was later sung at every event with a tune and was handed down as an anti-Japanese song.

Research on the Artistic Style and Singing Skills of Zhejiang Folk Songs

Zhejiang folk songs, as a gem within the realm of traditional Chinese musical culture, boast a rich array of artistic styles and distinctive vocal techniques. Their origins can be traced back to various facets of rural life, including agricultural labor, festive rituals, and folk activities, reflecting the diverse customs and cultural heritage of different regions within Zhejiang. Situated on the southeastern coast, the harmonious natural environment of Zhejiang has given rise to a variety of folk song forms, ranging from mountain ballads to farm songs and fishing tunes, each showcasing its own unique charm. Particularly, the refined and understated essence of Jiangnan culture endows Zhejiang folk songs with a poetic and delicate expression in melody and lyrics, culminating in a distinctive artistic style. The dissemination of Zhejiang folk songs is not confined to specific regions; as times change and society evolves, they have gradually integrated into contemporary art realms, becoming an essential part of national and local cultural heritage. Today, amid the diversification of popular culture, Zhejiang folk songs face the challenges of modernization and the struggle of preservation. Nevertheless, they remain a cultural symbol, carrying the memories and sentiments of traditional culture. This is not merely a testament to history but also a reflection of national emotions and artistic pursuits, deserving of in-depth study and preservation.

Kendhang Gaya Selo: Aesthetic Choice and Musical Exchange among Drummers in Central Java

Abstract The plucked selo, a three-stringed variation of the cello, in langgam Jawa kroncong music was originally inspired by Javanese gamelan kendhang drumming. By the 1960s, however, Ki Nartosabdho had developed a style of kendhang playing that imitates the selo, often called kendhang gaya selo (selo-style drumming), bringing this musical exchange full circle. Not every piece, however, is considered suitable for this rhythmic treatment. In this article, we examine musical exchanges in a song form known as langgam Jawa between the selo and the Javanese kendhang, and investigate when drummers decide to use kendhang gaya selo in gamelan settings.

Disinhibition enables vocal repertoire expansion after a critical period

The efficiency of motor skill acquisition is age-dependent, making it increasingly challenging to learn complex manoeuvres later in life. Zebra finches, for instance, acquire a complex vocal motor programme during a developmental critical period after which the learned song is essentially impervious to modification. Although inhibitory interneurons are implicated in critical period closure, it is unclear whether manipulating them can reopen heightened motor plasticity windows. Using pharmacology and a cell-type specific optogenetic approach, we manipulated inhibitory neuron activity in a premotor area of adult zebra finches beyond their critical period. When exposed to auditory stimulation in the form of novel songs, manipulated birds added new vocal syllables to their stable song sequence. By lifting inhibition in a premotor area during sensory experience, we reintroduced vocal plasticity, promoting an expansion of the syllable repertoire without compromising pre-existing song production. Our findings provide insights into motor skill learning capacities, offer potential for motor recovery after injury, and suggest avenues for treating neurodevelopmental disorders involving inhibitory dysfunctions.

An Analysis of Idiomatic Expressions found in The Lightning Thief Song Lyrics

The title of this study is An Analysis of Idiomatic Expressions Found In “The Lightning Thief (Original Cast Recording)” Song Lyrics. The objective of this study is to analyze the existence of idioms inside of an existing work of literature in the form of songs as part of a musical play and what does the idiom classified as, specifically what set them apart from each other and what pattern made them classified as one type through their semantic side. This study also includes an analysis of idiomatic expressions in the form of idiom references as it is considered part of the character’s personal touch as part of a story. Through a qualitative research method, the writer gathers and analyzes each idiom that exists based on listed idioms of the fourth edition of Oxford Dictionary of Idioms by John Ayto to separate them into 3 idiom classifications made by Cacciari & Glucksberg in 1991 to those are Compositional Opaque, Compositional Transparent, and Quasi Metaphorical. Each type is sometimes difficult to classify, possibly due to the existence of either phrasal verbs or individual words that have multiple meanings.

Music Form and Performance Techniques of Bayu Folk Songs

Bayu folk songs, rooted in the cultural heritage of the Chongqing, Guizhou, and Hunan regions in China, embody the essence of local identity and tradition. This study aimed to investigate the musical form and performance techniques of Bayu folk songs, offering insights into preserving and transmitting cultural heritage within educational contexts. Through interviews and observations conducted with 14 key informants from diverse backgrounds, including inheritors, local villagers, cultural center leaders, and relevant experts, the research examines the cultural preservation, musical diversity, and transmission challenges of Bayu folk songs within educational settings. The study’s results are based on a thematic analysis of qualitative data collected through structured interviews and observation forms. These findings show how vital Bayu folk songs are for building community identity, keeping culture alive, and passing it down from generation to generation. The research underscores the importance of developing standardized guidelines, increasing access to educational resources, and fostering collaboration between academic institutions and cultural stakeholders to promote the preservation and transmission of Bayu cultural heritage within educational settings.

Relevansi Pendekatan Semantik Pada Lirik Lagu “Bertaut” Karya Nadin Amizah Dengan Pembelajaran Teks Puisi

Literary works in the form of songs are a form of literary work that has lyrics or can be said to be poetry. When learning Indonesian, students do not understand the similarities between songs and poetry. This research aims to determine the semantic meaning of songs which are related to the physical structure of poetry and can be understood in learning Indonesian in poetry texts. The method used in the research is descriptive qualitative method. The techniques used in this research are note-taking and research techniques. The aim of this technique is to achieve a deep understanding of the meaning of the song "Bertaut" by studying the poetic text. The researcher conducted the research in stages, (1) understanding the content of the song lyrics, (2) including the song lyrics completely and completely, (3) analyzing some of the meanings of words related to the physical structure of the poem in the song lyrics, (3) explaining the results of the analysis, (4) summarizing the results of the analysis. The results of the research are that the structural similarities between the two are found in the meaning of the words and the language styles used such as hyperbole and connotation.

Application of Audiovisual Learning Media based on Culturally Responsive Teaching to Improve Students' Learning Motivation

Background: Each student has different characteristics, they will develop certain attitudes, interests, appreciation and goals. Therefore, the teacher's duty is to form motivation that can encourage students to do something to achieve their learning goals. This research aims to determine the effect of applying audiovisual learning media in the form of songs based on culturally responsive teaching in improving students' learning motivation on biodiversity material. Method: This research applies the collaborative classroom action reasearch methods with a quantitative approach with to sudy subjects of 36 students. The instruments used were students' initial motivational interview sheets, learning implementation observation sheets, student attitudes and skills observation sheets, and student learning motivation questionnaires. Students' learning motivation measured in this study included 10 indicators of 1) There is desire. to be successful, 2) There is encouragement and need to learn, 3) Perseverance in facing tasks, 4) Tenacity in facing difficulties, 5) Independence in acting, 6) Providing time, 7) Trying to estimate the results of various strategies, 8) Enjoying finding and solving problems - questions, 9) Courage to face failure, 10) Ability to rise from failure. Results: The results show that percentage of student motivation in cycle 1 obtained an average motivation score of 74.27%, while in cycle 2 the average percentage of student motivation was 79.57%. Overall, the average percentage of student motivation in cycles 1 and 2 was 76.92%. Conclusion: The implementation of audiovisual learning media in the form of CRT-based songs in biodiversity material can improve students' learning motivation. This can be seen from the average percentage of students' learning motivation of 76.92% with moderate motivation interpretatios. Keywords : Classroom Action Research; Motivation; Audiovisual Media; Learning Songs; Culturally Responsive Teaching; Biodiversity

Mukha Shilpa (Mask Making) is the Artefact form of Assam

The north-eastern state of Assam is very rich in terms of diverse arts. Revolutionary great men in Assamese literature, culture, society and spiritual life The contribution of Shrimant Shankardev is unforgettable. His great works made this Strengthened the feeling of social and cultural unity in the area. He wrote Ramayana and translated Shrimad Bhagwat into Brajavali language.Vaishnavism in the North-East for propagation, Shankardev started Bargeet, Kirtan, Ankiya Naat (Bhaona) etc. Composed. There are two main forms of dance here – Bihu dance and Satriya dance. bihu dance The identity of Assam has become. All children and elders participate in this. Bihu dance is performed on the occasion of the festival. Bihu song also on this occasion are sung. The central theme of Bihu songs is love. Apart from this, in Assam many folk dances are prevalent. There are many art forms here in the form of songs, dance, drama etc. are present. Shankardev gave birth to many art forms, including dramatic art and mask art was prominent. Folk plays played an important role in the background of the Neovaishnav movement and its propagation. Folk theaters performed by women are also popular in Assam. Women express their feelings through these folk dramas. Assam also has a rich tradition of folk songs. Bihu is the representative folklore in this region. Through which the common people's passion, hope, Aspirations, joys and troubles take shape. The folk song 'Haidang' of Sonowal Kachari tribe is sung only by men. Various body movements and dance along with songs are the specialty of Haidang. Rabha community of Assam is very rich in terms of folk songs. The folk songs of Miri or Mising tribe are called 'Oi Neetom'.The life and culture of the people of this community has developed in the valley of Brahmaputra and Subansiri rivers. The communities here have a rich heritage of folklore. The folk tales here are full of supernatural incidents. Assam has been considered the center of Tantra-Mantra, witchcraft and spirituality. Therefore, Tantra-Mantras are included in folk tales. Apart from this, idioms and proverbs are also available in abundance.

INKULTURASI NILAI INJIL DALAM BUDAYA JAWA PADA LAGU BOJANA AGUNG: SUATU KAJIAN MUSIKOLOGIS

The musicological study of the Bojana Agung song examines the inculturation song as a faith reflection that lives and develops in the context of Javanese culture. Combining textual research methods and literature studies, this paper describes (1) How can the Javanese inculturation style in the Bojana Agung be a contextual reflection of the faith experience in the Eucharist?; and (2) How can the encounter between the Gospel and Javanese culture in the Bojana Agung's inculturation process encourage the faith growth in being more participative and transformative? Using the music score from Kidung Adi number 242 as the primary data, this research shows that Bojana Agung uses a pelog nem pentatonic scale with a binary song form. Part A's unison melody depicts the Last Supper contemplation; meanwhile, part B's two and four voices composition creates a livelier Church's response to this glorious passage. Diversity, togetherness, cooperation, humility, and wisdom are Javanese's noble values that are inculturated in this song. The encounter between the Gospel and the local is the essence of the inculturation process. Through it, the Church is more active, creative, and inclusive in responding to the fullness of Christ's incarnation.

THE ACCULTURATION OF KABA IN RANDAI UDA DAN DARA 2022 PEMBUDAYAAN MIGRASI KABA DALAM TEATER RANDAI UDA DAN DARA 2022

Randai is one of the traditional Minangkabau cultures originated from West Sumatra, Indonesia. Characterised by drama, kaba, dance, song and silat. Thus, Randai refers to Minangkabau custom and cultural heritage. Therefore, kaba can be found in the form of stories, songs, rituals, mythologies, and folklores of these communities. Even with the increasing population of the Minangkabau Diaspora, especially in Negeri Sembilan since the early 19th century, randai remains as Minangkabau heritage culture. Hence has adapted some of Malay stories, songs, rituals, mythologies, and folklore of Negeri Sembilan community that has similarities with the story in West Sumatra. The novelty of this paper is to explore the acculturation of kaba in Randai performance, defined as Minangkabau culture, which researchers have not widely studied. The study of acculturation in Minangkabau Kaba has never been published. It is a qualitative approach via content analysis. Rest on the notion of kaba which is defined as a story. The research draws on the concept of acculturation of the story of Uda dan Dara by Usman Awang in Randai Uda dan Dara 2022 performance. The result highlights Uda dan Dara as kaba to a certain extent can be seen as a manifestation of a creative adaptation through the concept of acculturation. Thus, functions as a new set of meaning to Randai. Keywords: Randai; Kaba; Acculturation; Uda dan Dara; Randai Uda dan Dara 2022

Tinjauan Permainan Kesenian Irama Minang (KIM) Sebagai Budaya Masyarakat Minangkabau

Every region certainly has games that are often used on certain occasions andcan even be said to be part of their culture. The purpose of this study is to review one of the games in West Sumatera namely Kesenian Irama Minang (KIM) game so that it has become one of the popular cultural games in Minangkabau. In this research, the approach used is a qualitative approach with descriptive analysis methods and the data was collected by means of interviews and literature studies to complete statements from the interview results.The results found that the KIM game was introduced in the Pariaman area of West Sumatra and was first popularized at weddings. Looking at the popularity of the KIM game researchers reviewed it from a musical perspective and concluded that the KIM game has different song forms, the poems are like rhymes with rhymes a-ba-b using the Minang regional language and use a fast tempo or what is usually called with Allegro.

Let Us Sing to God: The Value of Asian Congregational Songs for Liturgy and Mission

Presently, many Asian churches continue to depend on translated Western congregational songs in their public Christian worship. This essay investigates the historical development of localized Asian Congregational Songs describing how this development in worship music-making was influenced by the reorientation in missiological thinking in the early twentieth century that bore fruit in the 1960s as churches in the Global South became autonomous. Thereafter demonstrate how this genre of congregational songs, guided by theological hermeneutical principles, can offer a viable pathway for contextually determined Asian Christian identity in the twenty-first century through the postcolonial hybrid congregational song form—a genre that holds in balance the original cultural identity of the song and the adaptability of the genre to navigate cultural boundaries.

Василий Гущинский — последний «босяк» на эстраде

The article examines the establishment and development of stage feuilletons in the 1920s-1930s on the example of Vasily Gushchinsky. On the pre-revolutionary stage, couplet singers performing as ‘tramps’ were very popular. After the revolution, Vasily Gushchinsky (1893–1940) continued the traditions of the ‘ragged genre’, trying to adapt it to the challenges of new times. Gushchinsky managed to preserve the language and speech style of ‘tramps’ and appeared in the image of either a militant renegade dissatisfied with innovations and the Soviet order or a plain fellow, an active member of the society under construction. Theatricalism and clown tricks helped to enhance the artistic expressiveness of the performed repertoire, while complex props allowed remaining within the framework of the attraction-feuilleton and the created image, playing on current events. Basically, those were poetic feuilletons in the form of rayok and couplet songs combined into ‘evenings of satire and laughter’. The years of the first five-year plan posed the question of new content even more acutely for Gushchinsky. He began to perform mostly free poetic feuilletons. They continued to expose the true face of an average man, a tradesman, and a former nepman, and at the same time, glorified the pathos of heroic deeds and positive changes in the construction of a new society, which was the first step towards the general trend of creating a positive feuilleton. In the 1930s, the image of an average man lost its acuteness. The variety art was forced to raise the subjects of historical changes and a new person. In search of a new feuilleton form, variety artists started to attract ‘partners’, thus artificially creating a conflict and performing ‘false dialogues’.

The creative characteristics of Liu Chi's film songs in the early days of the founding of the People's Republic of China

In the early days of the founding of the People's Republic of China, Chinese film music entered a heyday, and Liu Chi was the most influential composer at that time. In his film songs, based on the development of the times, he boldly used ethnic and folk music as song materials, innovated the form of songs, and created many popular film songs for the people. This article starts from analyzing the three movie songs created by Liu Chi in the early days of the founding of the People's Republic of China, and summarizes his creative characteristics from the perspectives of nationality, originality, and contemporaneity. Provide research ideas for the development of film songs during this period.

Maritirukan Aku Bisa: Android application for learning social skills of children with social emotional barriers

Android application development for online knowledge dissemination is urgently needed at this time. This study aims to develop an android application for learning social skills of children with social emotional barriers. The research participants consisted of 10 students, 75 respondents including teachers and parents of students in partner schools from Jakarta, Purwokerto, Pekanbaru, and Banjarmasin. The design of the android application was validated by four educational experts from universities. Data were collected through questionnaires and FGDs, and analyzed descriptively. The results obtained are the android application model "Maritirukan Aku Bisa with interactive features developed in the form of films, games, movements and songs as well as recording media of student activities, themes developed from aspects of social skills such as attention/concentration, expression/emotions, effective communication, and independence. The android application "Maritirukan Aku Bisa" with updates developed in this study is in accordance with the needs of parents and teachers. The material provided is in accordance with the needs and characteristics of children with social-emotional barriers, and can be accessed independently with the assistance of parents at home. This answers the needs of parents, especially in remote areas throughout Indonesia.

Chinese Children's Choir The Artistic Style of Northern Children's Choir

The aim of this study is to explore the artistic styles of Chinese children's chorus - Northern children's chorus. Firstly, the acoustic characteristics, repertoire selection and arrangement, as well as performance styles and techniques of northern children's chorus are discussed. Then it analyses the song forms, stage images and costumes, as well as stage sets and lighting effects of northern children's chorus. It then discusses the teaching methods and teaching materials, vocal training and skill development, and artistic quality and team consciousness of Northern children's chorus. Then the development history of children's choir in the north is reviewed, successful cases are analysed and evaluated, and future trends and challenges are discussed. Finally, a conclusion is made, including a summary of the study and a prospect of the existing problems.

The Connection Between Don Byas and Charlie Parker's Improvisational Approach to Rhythm Changes

Abstract: Carlos Wesley "Don" Byas, tenor saxophonist, was regarded by his peers as a pivotal figure in the development of bebop. Even though his roots were in the swing era, he was open to new harmonic possibilities explored by the likes of Charlie Parker and Dizzy Gillespie. Musicians during the bebop era (mid-1940s) would embellish popular song forms at the time, most notably "I Got Rhythm" (Rhythm Changes). Parker and Gillespie are among the few credited with the creation of bebop, but Byas is left out of the conversation. However, On November 2nd, 1944, jazz enthusiast Timmie Rosenkranz recorded Byas and Stewart playing "I Got Rhythm" in his apartment. Due to the recording ban of 1942–1944, early bebop was substantially undocumented, therefore, the recording made by Rosenkranz showcases the earliest bebop improvisation played over rhythm changes at 300 beats per minute based on discography records. I will compare three choruses of improvisation from Don Byas's 1944 recording of "I Got Rhythm" to three choruses of Charlie Parker's 1950 live recording of "Anthropology." I am looking at how they use the following techniques in both of their solos: chromaticism, chord substitutions, and use of non-diatonic chord extensions.