Form Of Songs Research Articles

The genre of folk song arrangements: the synthesis of composing and performing interpretations

The genre of folk song arrangements: the synthesis of composing and performing interpretations

The Acquisition of Japanese Numeral Quantifiers Through Song

This study aims to determine the effectiveness of audio visual form of the song in the language acquisition of the Japanese numeral quantifiers (NQ). The NQ is a phrase consisting of the cardinal number and numeral classifiers (Cl) to quantity expressions. In this study, the NQ are focused on the NQ that serve to quantity expressions 3 dimensional objetcs (use of Cl ∼ko), objetcs for animals (use of Cl ∼hiki), 1 dimensional objetcs (use of Cl ∼hon), binding objetcs (use of Cl ∼satsu), and objetcs for the person (the use of Cl ∼ri/nin). From the results of data analysis found that through the audio visual of the song can be used as an alternative in an effort to accelerate the acquisition of Japanese NQ. This is because if the traditional method only of learning will be difficult to recall one by one of the NQ, while through audio visual in the form of learner song will be more interested to repeat the material more fun every time so that will be more quickly come in into the subconscious memory.

Folklor lisan “Dendang Malam Bimbang Gedang Tepuk Tari” dalam adat perkawinan kota Bengkulu

Dendang is one of the oral folklores of Bengkulu city. This study aims to describe dendang Tepuk Tari in the marriage customs of Bengkulu city, the form, function, and values. The method used in this research is descriptive qualitative method using recording techniques, interviews, listening, and taking notes and the Snowball sampling technique. The main data in this study are the chanting poems taken from the video footage that was sung and equipped with the results of interviews with several informants. The results of this study indicate that the dendang is not only in the form of traditional songs and music, but is collaborated with seven traditional dances that resemble the movements in pencak silat. The poetry used consists of: 1) regular rhymes, and 2) talibun that are performed by means of reciprocating between the players using Bengkulu language and describing the lives of Bengkulu people. From the results of data analysis (poetry), this dendang functions as; 1) means of entertainment, 2) forms of community identity, 3) social criticism, and 4) means of educating and having values: 1) philosophical, 2) religious, and 3) sociological.

Bentuk dan Makna Lagu Ida Sang Sujati Karya I Komang Darmayuda

The Balinese song Ida Sang Sujati (2016) performed by Bali Kumara singers was inspired by a moment when its composer I Komang Darmayuda was appointed as a music judge at Pesta Kesenian Bali (PKB) which located at Ardha Candra Open Stage. He was stunned by the idea of ​​the parade and the venue for the event which was being made for the governor of Bali Prof. Ida Bagus Mantra who served in 1978-1988. The problems of this research are (1) the musical form of the Balinese song Ida Sang Sujati by I Komang Darmayuda, (2) the process of making the Balinese song Ida Sang Sujati by I Komang Darmayuda, (3) the musical meaning contained in the Balinese song Ida Sang Sujati by I Komang Darmayuda. The method that being used for this research is qualitative, with data collection techniques through interviews, observation, documentation. The theory used to explore the problem is the theory of song form and structure analysis and the theory of meaning. Primary data sources were obtained from interviews and observations. Secondary data were obtained from books, journals, and internet sources

Джазовый стандарт: особенности структуры

Статья посвящена изучению специфики структуры джазового стандарта. Стандарт основан на двух разновидностях джазовых форм: 12-тактовом блюзе (blues) и песенной форме (rhythm changes). В статье рассматриваются процессы формирования джазовых форм, даются их характеристики, приводятся нотные фрагменты, а также примеры известных стандартов, включенных в книгу В. Симоненко «Мелодии джаза».

Perlindungan Hukum Terhadap Karya Cipta Lagu “Hilang” Atas Tindakan Perbanyakan Atas Karya Cipta Tanpa Perjanjian Lisensi (Studi Putusan Mahkamah Agung Republik Indonesia Nomor 192 PK/Pdt.Sus/2010)

The development of human creativity in creating a work that can have economic value requires legal protection. This protection is very important to encourage the creative enthusiasm of people. There are some basic principles of the copyright law protection of the sound recordings results in its protection that need to be considered, such as what is protected by copyright is an idea that has been tangible and original. As a result of law enforcement efforts against piracy song or music copyright is regulated in the Article 72 where the law enforcement efforts by the government by providing criminal sanctions and civil sanctions with claims for compensation, the Supreme Court considers the reasons of the Petitioner for Review that these reasons cannot be justified, because the judex juris did not commit an error or a real mistake in deciding the a quo case . In general, the forms of Song or Music copyright piracy are divided into several categories, namely Pirate, Couterfeit and Bootleging. The motive for the piracy is for commercial interests in the form of financial gain. The role of the government in law enforcement dealing with piracy is to provide strict sanctions in the form of confiscation and destruction of goods resulting from Copyright piracy carried out by the government. Keywords: Legal Protection, Copyright, Songs, Propagation Actions, License.

LATIN SONG AT THE ABBEY OF SANKT GALLEN FROM C. 800 TO THE LIBER YMNORUM

New light is shed on the song culture of Sankt Gallen almost a century before its earliest notated sources through consideration of the poetic section of a manuscript copied at the Abbey shortly after the year 800, i.e. the second part of Leiden, Universiteitsbibliotheek Vossianus Lat. Q. 69. The predominantly Merovingian accentual Latin verse (rhythmi) and metrical verse by the late-antique poet Prudentius (his Liber Cathemerinon and Liber Peristephanon) were written out in song forms. It is newly proposed that Prudentius’ verse from the Liber Peristephanon was arranged into a liturgical cycle. The poetic section of the Leiden manuscript is accordingly understood as a collection of songs, which prompts reflection on the way in which earlier sung versus at Sankt Gallen may have provided models for the later Liber ymnorum. Witnesses to the song culture of Sankt Gallen in the first half of the ninth century are re-examined and a leading role during this period for the nearby Abbey of Reichenau is proposed. Finally, it is suggested that Iso’s advice to Notker that singulae motus cantilenae singulas syllabas debent habere was at least partly informed by the existing tradition of sung versus at both abbeys.

Gobal and Local: Worship Music and the ‘Logophonic’ Principle, or Lessons from the Songhai

The Christian church has always lived in tension between its global and its local identities, between gospel and culture. One aspect in which this tension plays out is in worship music. As the gospel came to them, many African churches adopted a North American/European form of song, ignoring or neglecting their local, traditional music. They opted for a more global identity and minimized their local identity. The church amongst the Songhai of West Africa is an example of this phenomenon. A church that neglects its local identity, however, has little appeal to the surrounding society and loses its prophetic voice to the community. Resolving the tension between the two identities is an important matter for every church. Thinking through worship music practices plays a key part in resolving this tension. A tool called the ‘logophonic’ principle may be of help in this regard. The tool looks at both words (lyrics) and sounds (accompaniment) to reexamine and renew worship practices and craft new music for congregations. This article explains how this tool might work and urges the necessity of good theological thinking and about worship and worship music.

Memorializing a Legendary Figure: Bajajidda the Prince of Bagdad in Hausa Land


 
 
 This paper examines the various ways in which the Bayajidda legend is memorialized. In its current manifestations, the legend can be seen as an important agency for the remembrance of the past in the context of rapid socio-historical change in Africa, under the influence of modernity, technology and globalization. The analysis begins by highlighting the interface between folklore and history in everyday cultural practices in postcolonial northern Nigeria. The signposts that give a coherent structure to the paper include the chronicles of the Bayajidda legend, the essential oral version circulating in its different forms in Hausa society. Over the years, reference to the legend of Bayajidda has always been made through the use of different modes of cultural expression such as song, dramatic performance, film and other forms of narration. This range has served the political and ideological interests of the dominant power elite who are consistently alluding to the Bayajidda legend. The survival of the essential oral narrative therefore depends solely on a strategy of alluding to the legend in its various guises, including the form of museum artifacts, drama, films and musical songs. However, the paper explores each of the specific historical periods from the pre-colonial down to the colonial and postcolonial epochs with a view to highlighting how specific forms of the legend are deployed by hegemonic structures for the purposes of legitimation.
 KEYWORDS: BAYAJIDDA, LEGEND, HISTORY, HAUSA KINGDOM, MEMORIALIZATION, RECREATION
 
 

Pendidikan Karakter Berbasis Local Wisdom (studi kasus di TK Islam PAS Munqidzatun Nasyi’ah Desa Wilangan Kecamatan Sambit Kabupaten Ponorogo)

Developing powerful communications technology has created unlimited free communication. The negative impact of this phenomenon is when a culture that is not good from the outside is swallowed out by children who are still young. As a result, it will easily experience cultural dislocation. One of the legacies of local wisdom that are not interested in the midst of the community is the Javanese dolanan song. Therefore all efforts must be sought from the very beginning. These efforts can be done through various ways, including habituation of children to play and sing songs (songs) dolanan Javanese, which actually contains a lot of character values.
 This study included a descriptive study, a case study at PAS Munqidzatun Nasyi'ah Wilangan Islamic Kindergarten. This study aims to describe; 1. Describe the form of character education in PAS Munqidzatun Nasyi'ah Wilangan Islamic Kindergarten. 2. Describe the strategy for implementing character education in PAS Munqidzatun Nasyi'ah Wilangan Islamic Kindergarten. 3. Describe the results of character education in PAS Munqidzatun Nasyi'ah Wilangan Islamic Kindergarten. This research includes field research using a qualitative approach. In collecting data, the author uses the method of interviews, observation, and documentation as a data collection technique. The technique chosen in data analysis is data reduction, data display and conclusions or verification.
 From this study it can be seen that: 1. the form of character education in PAS Islamic Kindergarten Munqidzatun Nasyi'ah Wilangan is a local widom-based character education (local wisdom) in the form of Javanese dolanan songs. There are three dolanan songs used for character planting, namely Sluku-sluku Bathok, gundul-gundul Pachol and Menthok-menthok. 2. The strategy for the implementation of character education in PAS Islamic Kindergarten Munqidzatun Nasyi'ah Wilangan is to use reflective methods. This can be proven by giving an explanation of moral values ​​to students, after the song is finished the song is sung both in class before the core lesson begins or while playing outside the classroom. 3. The results of character education at PAS Islam Munqidzatun Nasyi'ah Wilangan Kindergarten have fulfilled the values ​​of the basic characters, namely: a. Respectful and polite character through greeting each other and shaking hands. b. This character of independence and responsibility can be seen from throwing garbage in its place.

Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle

This article explores trends and motivations in the selection of plainchant and vernacular song quotations as the foundations of thirteenth-century motets. I argue that particular tenor melodies that received only cursory treatment in the liturgical polyphony of the Magnus liber organi were adopted in motets on account of their brevity and simplicity, characteristics that enabled their combination with upper-voice song forms and refrain quotations. Demonstrating a preference for short and simple tenors within the earliest layers of the motet repertoire, I trace the polyphonic heritage of the tenor omnes, whose simple melody enabled its combination with another more obscure plainchant quotation, aptatur, in a unique double tenor motet. I propose that motet creators—while sensitive to the semantic connotations of tenor texts—exploited the musical ability of tenor quotations to be combined with or stand in for other musical quotations. Newly identifying a plainchant tenor source in a motet by Adam de la Halle, I show that Adam's polyphonic motet quotations of his own three-voice polyphonic rondeaux were achieved by the careful selection of motet tenors to replicate the freely conceived lowest voices of these preexisting rondeaux. The article further reveals profound modal and melodic similarities between the quotations chosen as thirteenth-century motet tenors and the newly composed lowest voices of polyphonic rondeaux and English pes motets. It offers new perspectives on the relationship between the “elite” genre of the motet and types of polyphony that are less well attested in written sources, often considered to inhabit a more “popular” realm of musical practice.

PROBLEM AREAS IN VOCAL TRAINING OF MODERN MUSIC TEACHERS AS A FACTOR OF CIVIL EDUCATION

The article is devoted to solving problem areas in vocal training of students from pedagogical higher educational institutions in the context of improving the quality of professional training of intending music teachers. Methodological approaches: analytical – in the study of pedagogical and art history literature on vocal pedagogy and understanding the theory of the development of traditional forms of Ukrainian song as a scientific problem; cultural approach – in the context of the analysis of the cultural and historical development of Ukrainian song; art criticism – in the context of the analysis of genre-style features of vocal music of different eras.The article substantiates the importance of the process of building up vocal skills of the intending music teacher in the system of vocational training. The specificity of the discipline “Voice Training” is revealed, which sets certain requirements for the singer’s voice quality characteristics in order to ensure the effective solution to multidimensional tasks, including the education for the younger generation of Ukraine. The article notes that the Ukrainian national tradition of singing is predetermined by many factors: phonetic features of the spoken language, people’s mentality, the specifics of psychology, temperament, and the whole diversity of the people’s lives. We conclude that since the modern comprehensive school needs a specialist of a new type able to carry out not only educational, but also extracurricular activities, modern teaching methods and information technologies should be used to comprehend the basis of art studies and become a part of the development of modern music and teaching system, which moves from the episodic presence of modern vocal art at school to system modeling its educational and educative functions.

Wisdom in Mournful Tunes: Exploring the Major Themes of Igbo Oral Funeral Songs

Death often engenders emotional outbursts in the form of chants, songs and recitations. In most parts of Africa, the death of an adult member of the society goes with the rendition of some peculiar songs in honour of the deceased and to contemplate on death as a natural phenomenon. Among the Igbo of South-eastern Nigeria, it is anathema to intone a funeral song at a moment or location where there is no bereavement. Such acts attract severe verbal sanctions because oral funeral songs are special performances rendered during burial and funeral ceremonies. This implies that they are not merely ordinary songs rendered for non-justifiable reasons but ones which have recognizable motives behind their rendition. The focus of this paper is to identify some strands of meaning which most Igbo oral funeral songs convey. It highlights their basic thematic constructs or the ‘artistic representations’ espoused in most of them. Applying Contextual Analysis as the conceptual theoretical framework, the paper analyzes the content of selected Igbo oral funeral songs and concludes that they have clear identifiable preoccupations because they express multifaceted shades of grief and serve valuable purposes in the various communities where they are rendered.

Serat Wedatama K.G.P.A.A Mangkunegara IV (Kajian Teologi Hindu)

<p><em>It is a pride for the Javanese people in particular as well as the Indonesian people in general, because the previous ancestors inherited many priceless literary works. One of the literary works that is still studied and infused by the Javanese community is Serat Wedatama. Wedatama fiber is a literary work in the form of songs that are classified as didactic moralistic, as stated in Pangkur Pupuh which reads: sinawung resmining kidung, which means: decorated with the beautiful song (tembang). Didactic literary work in Javanese society is a piwulang literature that gives moral guidance which should be carried out by humans. Serat Wedatama is the work of Kanjeng Gusti Pangeran Adipati Arya (K.G.P.A.A) Mangkunegaran IV.</em></p><p><em>The author is interested in examining Hindu Theology in Serat Wedatama K.G.A.A Mangkunegara IV, with problems namely: 1) How is the structure in Serat Wedatama K.G.P.A.A Mangkunegara IV ?. 2) What is the function of Serat Wedatama K.G.A.A Mangkunegara IV ?. 3) What is the meaning of Hindu theology contained in the Fiber Wedatama K.G.A.A Mangkunegara IV ?. This study aims to describe the structure, functions and theology of Hinduism contained in Serat Wedatama K.G.A.A Mangkunegara IV. Accurate data is obtained by using several literature studies, the basis of concepts and theories, namely Talcott Parsons Functional Structural theory and Habermas Hermeneutics theory, and research models. This research method, which starts from the type and approach of research, methods of data collection, literature study, documentation studies, data analysis techniques, and methods of presenting results. Data analysis</em><em> </em><em>was performed using descriptive-qualitative analysis techniques. The results of this study indicate that the Serat Wedatama structure consists of five pupuh, namely: Pangkur, Sinom, Pucung, Gambuh and Kinanthi. The number of Serat Wedatama temple is 100 stanzas. The functions obtained in Serat Wedatama are: Art Functions, Social Functions, Cultural Preservation Functions, Religious Functions, and Spiritual Functions. Can be explained that the meaning of Hindu Theology contained in the Fiber Wedatama KGPAA Mangkunegara IV, namely God Almighty (Hyang Tunggal), God All Sources (Hyang Widhi), God Is Everywhere (Hyang Most Holy) and God Who Is Acintya (Hyang Sukma ) which is parallel to the divinity in Siva Tattva. In essence God is the source of everything that exists in the universe and becomes the place for the return of everything. The One God, though still in place, does not move, but His speed exceeds the mind, precedes the speed of movement of the Gods, God is unthinkable, very magical, everywhere, and permeates everything.</em></p>

สังคีตลักษณ์เพลงลูกทุ่งของครูไพบูลย์ บุตรขัน (Musical Form in Thai Country Music of Kru Phaiboon Butkhan)

Thai Abstract: การศกษาครงนมวตถประสงคเพอศกษาสงคตลกษณเพลงลกทงของครไพบลย บตรขน ใชวธการเชงมานษยดนตรวทยา ใชระเบยบวธวจยเชงคณภาพ โดยเกบขอมลจากการศกษารวบรวมเอกสารทเกยวของ และยนยนขอมลดวยการสมภาษณบคคลขอมล ไดแก ครเพลง ทายาท และผเชยวชาญดานดนตร จา นวน 3 คน และวเคราะหสงคตลกษณของบทเพลงตามหลกการวเคราะหทางดนตรตะวนตก ผลการวจยพบวา บทเพลง 9 เพลงมสองทานองหลกรปแบบซอง ฟอรม (Song Form) คอ A กบ B และมกซา ทา นอง A โดยมการเปลยนคา รองทกครง อก 1 เพลงคอเพลงมสยาหลงเหยอ มสามทา นองหลกคอ A, B, และ C บนไดเสยงสวนใหญเปนชนดเมเจอร ยกเวนเพลงยมบาลเจาขาเปนชนดไมเนอร พบการใชมกโซลเดยนโมดในเพลงนาตาเทยน มสยาหลงเหยอ บพเพสนนวาส และการใชบนไดเสยงชนดไมเนอรฮารโมนกในทอนจบของเพลงมนตรกลกทง การเคลอนทแนวทานองเปนไปตามลาดบ มการกระโดดขามขน บางจนถงกวางเปนขน ค 8 พสยของเสยงอยระหวาง 1 ชวงเสยงกบอกค 5 เพอรเฟค มกระสวนจงหวะโบเลโร 6 เพลง ราวง 2เพลง โซล 1 เพลง และบลส 1 เพลง จงหวะทา นองสมพนธกน อตราความเรวตง แต 58-118 ในอตราจงหวะ 4/4 และมอตรา 2/4 แทรกเพยง 1 หองเพลงในเพลงชายสามโบสถ การดา เนนคอรดมเพยงสองทา นองหลกทมการซา ทานองหลายครงและเมอมการซา ทา นองกจะเปลยนการดา เนนคอรด การจบประโยคเพลงสวนมากเปนเคเดนซแบบสมบรณ และแบบ vi-I,iii-vi, vi-ii และ iii-I English Abstract: The purposes of this research, the Social Significance and Musical Form appearing in Thai Country Music of Kru Phaiboon Butkhan, were to study the musical form on Thai country music of Kru Phaiboon Butkhan. It was based on anthropology methods using qualitative research methodology. The data were collected by compiling the relevant documents and were confirmed by interviewing 3 specialized persons: a composer, a descendant, and a music expert. The musical form was analyzed in accordance with the principles of western music. The research results revealed that the musical form of 9 songs had the song form with two main melodies: A and B. Three main melodies A, B, and C were found in Mat-Sa-Ya-Long-Yuai song. Most of the scales were in major type while Yom-Ma-Baan-Jao-Kaa song was in minor type. It was found that the mixolydian mode was used in Namtaa-Tian song, Mat-Sa-Ya-Long-Yuai song and Bup-Pea-San-Ni-Wat song while the harmonic scale in minor type was found at the end of Mon-Rak-Luk-Thung song. The melodic direction was steps. Skipping over was found until intervals 8 range of voice between 1 octave and intervals 5 perfect. There were the Rhythmic pattern in 6 Bolero, 2 Ramwong, 1 Seoul and 1 Blues. Melodic rhythms were quite related. The tempo was in 58 to 118. The beat rate was in 4/4 and 2/4 was inserted in only 1 range in Chai-Sam-Boot song. In the chord progressions, only two main forms were repeated many times. The chord progressions were changed according to the repeated melody. At the end of song was mostly in the perfect cadence characters as follows: vi-I, iii-vi, vi-ii and iii-I.

แนวคิดเบื้องต้น และอรรถาธิบายบทประพันธ์อีสานฟิวชั่นเพลง “Mr.TT” (Conceptual and Explanation of Pieces 'Mr.TT' E-san Fusion)

Thai Abstract: เพลง มสเตอร ทท ผวจยไดนาทานองเพลงปปาหลานมาศกษาและเลอกกลมจงหวะทนาสนใจมาใชเปนโมทฟสน ๆในการประพนธเพลง และมการนามาสรางเปนจงหวะแบบดนตรฟงค บทเพลงเลนอยบนจงหวะชฟเฟล ซงเปนลกษณะของดนตรบลส และดนตรอสานกมลกษณะคลายกนคอมความเปนชฟเฟลเชนกน โครงสรางบทเพลงเปนอสระคอไมมการซา ทอนวธการประพนธ มการนาโมทฟในทอนแรกมาขยายตอหรอมาพฒนาดดแปลงเพอสรางทอนตอไป มการนาแนวคดเรองการ”เกรน ”ในดนตรอสานมาใชเปนการอนโทร หรอเกรน กอนจะเขาเพลง เปนการเลนทไมอยในจงหวะทตายตว เปนการลนไหลของผบรรเลงตามแตอารมณ ลกษณะเชนนพบมากในดนตรอสานการรองเลนหมอลา ในทอนสดทายของบทเพลงมการสรางแนวทานองใหมโดยการนาเอาเลขปเกดของนายทองใส ทบถนน คอ ค.ศ.1947 มาแปลงเปนลา ดบโนต และนาเอาตวเลขทไดจากจา นวนอา เภอ ตาบล และหมบานในจงหวดอบลราชธานมาเปนตวเลอกในการสรางกลมรปแบบจงหวะ English Abstract: “Mr.TT”, the researcher adapt the melody of “Pu-Pa-Lan” to study and choose interesting rhythmic pattern to use as short motive to write song and to create rhythmic as funk music. The song was play on shuffle rhythmic which was blue music’s character and E-san modern music had similar character that was shuffle. Song form was independent that means there was not repeat. The writing had adapt motive in first part to continue or to develop for creating new part. There was adaptation of “Grien” concept in E-san modern music to use as intro or Grien to lead to song. It was not fix rhythmic because it would flow as player emotion. This characteristic mostly found in E-san music (Mor-Lam). In the last part of song, there was creating new melody by adapting birthday number of Mr. Tongsai Taptanon that was 1947 to apply in notes sequence and using number from number of district, sub-district and village in Ubon Ratchatani to be choices in building group of rhythmic patter.

Signal complexity communicates aggressive intent during contests, but the process is disrupted by noise.

Contestants use displays to signal their aggressive intent and settle disputes before they escalate. For birds, this is often in the form of song, which can vary in structural complexity. The role of song complexity in signalling aggressive intent has not been fully established, and its efficacy could be influenced by background noise levels. Using playback experiments, we found that in European robins, Erithacus rubecula, song complexity signalled sender aggression and affected receiver response. However, increased noise impacted the ability of contestants to adjust response based on opponent song complexity. These findings provide new evidence regarding the use of acoustic signal complexity for assessing opponent aggression and that noise can influence contest behaviour by interrupting this process, which could impose fitness consequences.

ANALISIS STRUKTUR LAGU BUNGONG JEUMPA ARANSEMEN PAUL WIDYAWAN

Abstract The purpose of this study is to analyze and describe the Bungong Jeumpa song that arranged by Paul Widyawan based on melodic and harmonic principles. This type of research was qualitative with an approach to analyzing the content of objectivity of generalization structures. The theory used was the theory of understanding analysis, song structure, arrangements, choir arrangement techniques, (chord progression) and contrapung. Data in this study was taken from literature studies, interviews and experiment. The results of the study obtains that the Bungong Jeumpa song has two-part of song form, namely period A which is built two phrases, namely a and x phrases and period B which is built two phrases, namely b and a phrases'. Bungong Jeumpa song is arranged based on the structure of the song including the intro, the core part of the song and coda. In arranging, Paul Widyawan is not only based on the initial chord progression, but also developing the chord become more varied and added non harmonic tones. Cadence in Bungong Jeumpa is authentic half, imperfect authentic, perfect authentic and picardie third cadences. Patternically, the movement of the tones in the four octaves of the melody moves in a non-parallel manner. Motus is between soprano and alto tends to be parallel (motus rectus), motus is between soprano and tenor tends to deviate (motus obliqus) and motus is between soprano and bass also tends to deviate (motus obliqus). Besides, Paul Widyawan adopts the contrapung (counterpoint) theory of conventional western music which the sound on cantus firmus is not always be in the soprano (keep moving). Keywords: Analysis, song structure, chord and cadence progression, motus and contrapung.

Memorializing a Legendary Figure: Bayajidda the Prince of Bagdad in Hausa Land

This paper examines the various ways in which the Bayajidda legend is memorialized. In its current manifestations, the legend can be seen as an important agency for the remembrance of the past in the context of rapid socio-historical change in Africa, under the influence of modernity, technology and globalization. The analysis begins by highlighting the interface between folklore and history in everyday cultural practices in postcolonial northern Nigeria. The signposts that give a coherent structure to the paper include the chronicles of the Bayajidda legend, the essential oral version circulating in its different forms in Hausa society. Over the years, reference to the legend of Bayajidda has always been made through the use of different modes of cultural expression such as song, dramatic performance, film and other forms of narration. This range has served the political and ideological interests of the dominant power elite who are consistently alluding to the Bayajidda legend. The survival of the essential oral narrative therefore depends solely on a strategy of alluding to the legend in its various guises, including the form of museum artifacts, drama, films and musical songs. However, the paper explores each of the specific historical periods from the pre-colonial down to the colonial and postcolonial epochs with a view to highlighting how specific forms of the legend are deployed by hegemonic structures for the purposes of legitimation.

Song rate and duetting in the Chirruping Wedgebill (Psophodes cristatus): frequency, form and functions

ABSTRACTMuch of our current understanding of song originates from studies of species living in seasonal environments, where breeding seasons are short and highly synchronised at the population level. By comparison, the form and function of song are less well understood in aseasonal environments, where breeding cycles are less predictable. We examined song rates of male and female Chirruping Wedgebills (Psophodes cristatus), a passerine endemic to the arid regions of inland, south-eastern Australia, across a 4 month period of breeding activity. Our results show that both males and females sing, and provide evidence of duetting. The song rate of male Wedgebills was highest in the early morning and during breeding and was substantially higher than the song rate of female Wedgebills. Over the course of the day, bouts of male singing were two orders of magnitude longer than females. By contrast, female song rate was independent of the time of day or reproductive phase. Females more often sang in tandem with their partners than expected by chance and duets occurred at a relatively low rate, independently of breeding phase. We discuss the possibility that male and female song and duets serve different functions.