Form Of Songs Research Articles

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.

Ashig songs of Koroghlu: About connections with the ashig tradition and interpretation of the song form in Uzeyir Hajibeyli’s opera

Ashig songs of Koroghlu: About connections with the ashig tradition and interpretation of the song form in Uzeyir Hajibeyli’s opera

EASTER SPRING SONGS IN THE INTERFLUVE OF THE LOWER PRIPYAT, UZH AND TETERIV RIVERS

The northern lands of the modern Kyiv region, located between the Pripyat, Uzh, and Teteriv rivers in their downstream, historically and geographically belong to Polissia. Ethnographers rightly consider this territory a reserve of ancient Slavic traditions. In the life of local residents, various calendar rites of pre-Christian origin continued to function until the beginning of the 21st century. Among all the calendar seasons, spring was particularly diverse. Rituals and spring songs changed at different stages of the spring season and reflected the state of nature and the aspirations of people, first of all young people: first to summon spring, and later to activate its signs.
 The article is devoted to consideration of the songs of the middle phase of spring in this territory – from the Easter holiday to the Trinity. They are noticeably different from the songs сalling for spring at the beginning of the season. The girls did not just sing Easter songs, but accompanied them with a ritual dance, roundelays. They held each other`s hands and moved in a circle or along a sinuous line, and sometimes imitated work in the field using special gestures. The content of these songs is wide – from children's game plots to small performances on the topic of relations between a boy and a girl. Songs also differ in musical features. The song material in the article is presented according to the rhythmic-structural typology principles. Songs were recorded by the author in the years 1979–2007. At the end of the article, music samples are provided (transcribed by the author). Abbreviations mean the names of the districts of the Kyiv region for the time of recording (Pls = Polisky district, Chnb = Chornobylskyi district, Ivn = Ivankivskyi district). Song forms are encoded using system of special characters developed by I. Klymenko (2008; 2020).

Música del Mariachi: Conservator of Mexican Culture and Heritage

Mariachi music, its profound texts, rhythms, and mestizaje (racial mixture) preserve Mexican culture and heritage. Mariachi music is synonymous with Mexico. Both birthed through a violent beginning of forced assimilation and mestizaje, mariachi is one of the foremost symbols of Mexican national pride. Mariachi’s lyrics and distinctive rhythms, share and preserve a story of survival, cradle ancestral epistemologies, all that is Mexico, its Indigenous, Spanish, and African roots and history pre and post 1821. And just as in the study of any other music, language, or culture, it is consequential that precise, literal, translations (scores) of mariachi music, research, and other scholarly, cultivated resources are accessible to all Mexican descent people, especially Chicana/x/o students and those who teach them. Culturally relevant curriculum fosters identity and inclusivity and promotes academic success. However, as it pertains to music education, western European music history, theory, notation, and praxes dominate. With over 62 million Hispanics living in the United States, 62% of Mexican descent, it is dire to create decolonized music spaces that offer more than a single narrative. And within these spaces, it is crucial that quality resources are provided equitably. Because of its popularity and adoption as core curriculum in schools around the United States, amassing quality mariachi educational resources, musical scores and transcriptions, and other curricular materials is central to Mexican descent student success. In this article, I describe common mariachi song forms, their region of origin, meter, text structure and offer rhythmic analyses and examples for notating them.

Особенности романсового творчества Цезаря Кюи

The article examines the features of style in the romance art of the Russian composer of the XIX century César Antonovich Cui. The analysis of important key points in the construction of his musical and artistic works is car-ried out. It is emphasized that C. Cui was partly a follower of the realistic trend in Russian music, the founder of which is considered to be A. Dargomyzhsky. The analysis of the form of romances and songs by C. Cui reveals the composer’s desire to unite music and lyrics, the meticulous process of creating natural-speech intonations in vocal parts with an obvious attraction to melodic, a song recitative without tendencies to ostentatious and diverting from the natural expression of singing cantilena. The peculiarity of C. Cui’s composing style deter-mines the merits of his musical creations, consisting in the beauty of intonation warehouse, elegance, originali-ty and harmony of vocal works.

What is the shape of institutions? Materializing the cycles of life in an East African age class society

AbstractGiving a precise definition of what an institution is raises epistemological dilemmas concerning its supposed universal applicability and the coexistence of different institutional regimes (e.g. state and customary). Scholars who have dabbled with this question often identify rules, behaviours, values, or social roles as the essence of institutions. In fact, these constitutive features do not necessarily occupy a leading position in all societies. In this article, I argue that, among East African pastoral populations such as the Samburu of northern Kenya, institutions of age class systems are the product of the changing identities of the person's maturation process. These institutionalized life cycles regulate the distribution of powers, rights, and duties within the community. Moreover, if institutions can be different ‘things’, similarly, the objects through which they materialize can vary profoundly from one social system to another. In the case of the Samburu, customary age institutions can be perceived, performed, and manipulated in the form of songs, dances, and ornaments that represent their tangible, aural, visible, and actionable substance. Just as age manifests itself through the body, institutions founded on age take shape through sonic and kinetic bodily expressions.

Examining musical elements in Toy Story soundtrack “You’ve Got a Friend in Me”

Animated comedy and adventure films are highly enjoyable to watch. In addition to being an enjoyable film, it is also suitable for viewers of all ages, ranging from children to adults. Furthermore, films of this genre are often sought after by families seeking weekend entertainment. In addition to being captivating to watch, films in this genre typically aim to impart a moral message. The "Toy Story" is a well-known animated comedy about friendship and adventure. It effectively conveys a message of friendship, a familiar theme to viewers. The film's soundtrack, "You've Got a Friend in Me", is highly memorable and strongly associated with the movie. This essay will examine the audio of this renowned film. In this study, we employed qualitative methodologies. Qualitative methods refer to research approaches that aim to comprehend phenomena in a research object by describing them using language. This study aims to analyze the musical composition of the film "Toy Story" theme song to understand its characteristics and elements comprehensively. Data collection was conducted through discography investigations, book reviews, and observations. Discographic study involves analyzing, describing, and explaining the results of auditory experiences. We examined the "Toy Story" theme song in audio format, accessible on platforms like Spotify and YouTube, and the musical score. The purpose was to facilitate the evaluation of the song's form, structure, and musical elements. "You've Got a Friend in Me" exhibits a higher level of complexity in terms of chords and melody than a usual song. It surpasses the average in chord complexity, melodic complexity, chord melodic tension, chord progression novelty, and chord-bass melodies.

Study Of Living Al-Qur’an Analysis: Tale Jei Tradition For Hajj Jama'ah In Koto Petai Kerinci Indonesia

The study of the living Al-Qur’an tradition of Tale Jei in Koto Petai village uses qualitative-descriptive research methods by describing the facts of the reality of the data that is there for the data collection method, namely by interview and documentation methods to analyze the data obtained from various sources and then describe the results of the analysis. Tale Jei in Kerinci is a legacy of the cultural traditions of ninik mamak or previous scholars, especially in the village of Koto Petai, routinely holding this traditional event before releasing the pilgrims, which in the process contains all about the events of Hajj starting from the pillars of Hajj, Hajj obligations, Hajj requirements, Hajj prohibitions made and sung in the form of songs (Tale). With the help of the living Al-Qur’an, the author will analyze Karl Mannheim's Sociology of Knowledge theory, which focuses on three main points: objective, expressive, and documentary. From the results of the analysis, the author found the verses contained in this tradition by using the Living Al-Qur’an Study of the Tale Jei tradition in Koto Petai village, including 1) Surah al-Mujādalah (58: 11), 2) Surah Āli Imrān (3:97), 3) Surah al-Nahl (16:97), 4) Surah Fāṭir (35:29), and then reveal the spirit of the implementation of the tradition.

CHARACTER VALUES OF INDEPENDENCE, HARD WORK, CREATIVITY, AND DEMOCRACY IN SERAT WEDATAMA

Rapid technological advancements facilitate human progress towards various objectives, but they also have a drawback, namely the emergence of instant culture. All things desire to be quick, simple, helpful, and satisfying. A culture that is averse to effort, care, and empathy will become hardworking due to this character. The life guidance derived from regional culture and beliefs must be rebuilt. A literary piece called Serat Wedatama, which takes the form of a macapat song, contains moral lessons. It is essential to continuously work towards fostering self-discipline, perseverance, creativity, independence, and democracy founded on sincerity, patience, and sincerity. It is possible to purify the heart and mind through selfless work, which affects behaviour that is not constrained by professional outcomes. An incentive to put in the extra effort will be a disciplined character that has become ingrained. Genuinely working hard and dedicating all of one's creations and emotions will yield satisfying results. The ability or self-intuition that generates creative ideas will awaken with sincere effort. A sense of self-confidence fostered by creative ideas can help someone become independent. Coexisting in various societal contexts is also a necessary component of independence. Humans must cooperate while putting mutual respect and appreciation first in order to establish democracy in a society with a variety of conditions and characters.

Issues in Radio Music Broadcasting in the Sri Lankan Cultural Environment

The interference of mass media plays a key role in changing people's listening behavior and thinking patterns in numerous ways. Due to technological factors, a majority of Sri Lankans are exposed to “light songs” which are music tracks to last only for three to five minutes. From earlier to present times, almost all recording and reproducing technologies in the island have been used basically for this purpose. Various types of government and private FM channels, TV channels, and social media propagate these forms of songs in the contemporary music scene for different purposes. Because of the commercial benefits and good demand for songs, mobile network companies also promote artists to record songs according to the contemporary taste of the younger generation. This study discusses how Sri Lankan music was stuck to a monocentric stream of light songs due to the fact that the listeners in Sri Lanka are constantly being exposed to “light songs” through radio broadcasting and radio politics.

Reimagining the Myth of Ahalya: A Feminist Reading of Nandini Sahu’s Poem Ahalya’s Waiting

In the last two decades of the new millennium, as far as Indian Writing in English is concerned, the focus has shifted from the mainstream characters to the marginal figures of the Indian epics which is evinced by a renewed interest in Indian mythology through numerous retellings in the recent past. These retellings are unique in the sense that the focus is mainly on women and marginalized characters thereby offering fresh perspectives of interrogation and interpretation and also foregrounding new sensibilities in the process. Hence, in the recent times, more specifically from a women-centric perspective, appropriations and reworkings of the central women characters from two prominent Indian epics, that is, the Ramayana and the Mahabharata, can be observed in the form of folk songs by rural women as well as by women writers attempting to dissect the traditional narratives from a feminist perspective.
 In the quest of understanding the experiences and values that shape the collective consciousness of a given society, epics serve as an important tool of exploration as they continue to hold influence over the masses even today. Additionally, epics continue to form an important part of the cultural domain, and hence, all such appropriations serve a very specific purpose among many vis-à-vis tapping into the potential of traditional narratives to act as a resource in so far as understanding and interrogating gender politics and dominant ideologies and at the same time offering subsequent corrective measures is concerned.
 ‘Ahalya’s Waiting’, a poem by Professor Nandini Sahu, then, seeks to embark upon two important projects, that is to unravel and interrogate the gender politics and offer alternative sites of resistance against the dominant ideologies that continue to impinge upon the aspirations of women even today. The poem features in her anthology of poems titled A Song, Half and Half (2022). Moreover, the poem portrays not only the unjust treatment Ahalya is subjected to after she has been deceitfully seduced and raped by Indra and her subsequent metamorphosis into a stone owing to the curse by her husband sage Gautama but also concerns itself with her assertion of self and claiming subjectivity as its central theme.

Genetic : Aplikasi Android Sebagai Media Promosi Musisi Indie

Promotion is important role in sustainability of a business, as well as creative business units such as music. Indie is one of music genres that is much loved by millennials, which is a movement of musicians who usually rarely follow market trends. Recording process to distribution is done independently. When active in the Indonesian music industry, many indie musicians experience difficulties due to the lack of promotion and distribution their music to general public. Many indie groups tend to use social media for promotion. See android applications or websites advantages that can be used as a forum for promotion and distribution of product information, in this study an android application was created as a media for indie group promos. System development method uses Rapid Application Development (RAD) because it involves users in designing and building a system. System can display information on indie bands along with copyrighted works in the form of songs and videos.

Historical Types of Folklore Thinking in the Lyrical Songs of Sloboda Ukraine

The aim of the article is to identify historical types of folklore thinking: the modal-tune and integration-melodic types in song lyrics based on the folk song tradition of Sloboda Ukraine. Results. The figurative content of archetypes of folklore thinking is expressed by rhythmic and melodic codes as a sound embodiment of symbolic and logical figures of thinking. In the process of development, they were assigned to certain song forms and acquired features of functional differentiation into ritual, epic, and lyrical with a predominance of a certain modality: exclamatory, persuasive, and later narrative. On the basis of the narrative modality, which prevails in the genre of lyrical songs and ballads, the lyrical mode of thinking emerges within the local folklore environment. Song examples representing the drawling type of chanting of lyrical songs can be attributed to the modal-tune type of folklore thinking. The integration-melodic type of folklore thinking is characterised by fundamental changes in the process of musical development based on logical figures of grouping and classification. The transfer of the main function to the highest solo voice, the concentration of the intonation content in it, affected the creation of melody. The scientific novelty consists in substantiating the modal-tune and integration-melodic types of folklore thinking on the material of the song lyrics of Sloboda Ukraine. Conclusions. Lyrical songs of modal-tune type create the song stanza by alternating autonomous song segments caesurated according to the logic of musical development. In the chants of integration-melodic types, the highest voice of sub-chant polyphonic structure acquires the properties of a melody thanks to the concentration of the intonation content and the character of the caesura. The structure of the chant becomes more symmetrical, with the features of a responsive stanza.

Ave Satani Motifs Relation to Narrative Thematic Development of the Omen: An Analysis of Oscar-Winning Horror Film Music

It is noteworthy to distinguish the excellence of Ave Satani’s theme song for The Omen (1976) film so that it becomes the only horror movie that ever won a nomination for "Best Original Song" over the ninety years of the Academy Awards(NIS, 2022). If we consider the song as non-diegetic that only appeared in the opening and ending credits, was it true that it did not relate to the film scenes? This study aims to analyze the musicological characteristics of the song and find its role within the film's scenes. This study uses the qualitative method with analytical approaches using musicological analysis and qualitative triangulation through interviews with three Indonesian film music experts. The results of this study are findings of Ave Satani's musical song form and the development of its main and auxiliary motives. This study concludes that, in addition to serving as the film's opening and closing credits illustrations, the song strengthens the antagonistic atmosphere between the church and the devil. However, as a theme song, Ave Satani's motives have been modified and developed into soundtrack music for essential scenes within the film. The study contributes basic knowledge for further study of the film music to clarify its theme song motives transformation into the other illustration songs of film scenes.

Tutur Candra Bherawa Pakeliran Theater: A New Process of Creation For Traditional Theater

Tutur Candra Bherawa Pakeliran Theatre is a total theatre work that explores and uses the elements of the art in Balinese Traditional theatre. This work uses a song as a means for storytelling, becoming a theatrical music presentation. The melodies and vocals are not only based on Balinese and Javanese traditions but also adapt and transform the styles of qawwali music (Sufi songs) and other spiritual songs. It is presented in the Sangita song form, accompanied by instrumental music and dance. The concept of this work is ngarcana sarining lango, described as bukti-mukti-jiwan mukti. The method of creation utilizes the Gandha Sesa composition technique. Bhasma Sesa is the framework for the play, dramatic plot, play script, and form of presentation.

THE FRIENDSHIP OF WITOLD FRIEMANN AND ADAM MITSCHA WITH KAZIMIERZ BROCZYK RECORDED IN CORRESPONDENCE

In their youth in Lviv, Kazimierz Broczyk, a writer, and two musicians, Witold Friemann and Adam Mitscha, made an acquaintance that in time turned into a devoted lifelong friendship. Even though their fates were separated because of the WW II hardships, and they found themselves in different cities, this is how we have their correspondence kept up among them and uncovering a wide variety of different topics. Its main body is the existentialism related to their lives and moral choices. The letters exchanged by Broczyk and Friemann date back to the period of 1954 and 1967, whereas the letters of Broczyk and Mitscha are from 1962-1967.Broczyk and Friemanns friendship was of a literary and musical nature as Broczyk was the librettist of Giewont Friemanns first, unfinished operatic piece; unfortunately, the work has not survived except for small fragments in the form of songs. Mitscha was in turn Friemanns student in the Lviv period, and with time he became his faithful friend and first biographer. The Broczyks, even though not professionally connected with music, proved to be fond of it (his wife Eugenia sang in a choir) and fascinated by Friemanns compositions presented on the Polish Radio.The three friends and their families constantly suffered from health problems, which undoubtedly resulted from their war experiences and everyday hardships, as well as poor housing conditions in case of the Friemanns, whereas in case of Broczyk, also his stays in prison and deportation. Apart from that, in the letters we read about the moral dilemma they had, their attitudes and deliberations pertaining to religious beliefs. The artists also shared their creative achievements and the differences they noticed between music and words while expressing themselves (censorship issues). To that we should add diligent teaching work plus editing and translation activity, which are the essence of the epistolography referred to here. All three of them were also authors of Memoirs, which still today constitute a testimony to the bygone era as well as their personal fate and the fates of their loved ones and other people significant in their lives, all of which were part of that era too.Holiday and nameday greetings and the very touching tone of the letters and mutual concerns for each other fully show the notion of a true friendship the friendship that was strengthened by their meetings in person in Cracow, which occurred during the Friemanns holiday trips to that city.In all three houses like protective spirits our heroes wives appear full of dedication, self-sacrifice, and devotion, often adding their names to what their husbands wrote, and also their sons, who frequently caused their parents a lot of worry and trouble. Their dilemmas and dramas like in reference to Broczyks only son Szczsny are also depicted in the letters presented here in a very heartrending way.Broczyk dedicated a significant part of his letters to his fascination by nature, which he admired together with his wife, and deep reflection on evanescence, he rebuked himself for no creative fever as compared to the always creative Friemann, and for being torn, which bothered him ([...] Everything Ive done in my life has been loomed over by this curse of incompletion. Ive never properly finished anything because Ive never been exclusively devoted to anything [...]). He also had to face the passing of his beloved wife.

STUDY ON ARTS, CRAFTS AND DANCES OF THE GOND COMMUNITY OF NUAPADA DISTRICT IN ODISHA

The arts, crafts and dances of the people of Gond community of the Nuapada district are the significant aspects of the tribal cultural heritage of Odisha in India. This study is focusing on the rich cultural heritage of the Gonds residing in the Nuapada district of western Odisha particularly their art, paintings, craft, and dances. The Gond tribe people is known for decorating the exterior walls of their houses with intricate artwork believed to bring respectable providence. The research aimed to assess the knowledge of Gond art among the community near the Boden block of Nuapada district of Odisha, focusing on themes monogram patterns, designs, motifs, colours, media used, and institutions involved of the promotion of this art custom. The Maadli and Dalkhaiand Ghumura dances in particular are highlighted as a significant cultural expression among the Gond community of the Kalahandi and Nuapada districts, performed in honour of the deity Budha Deo through dance and song. The study emphasizes the urgent need for the preservation and documentation of the Maadli dance, which is on the verge of extinction of the Nuapada district. The Gond tribe of Nuapada is one of the major tribal communities of Odisha as well as Central India. The name “Gond” is derived from “Kond,” meaning green mountains of the Dravidian idiom of the Gond tribe. The painting is a popular folk art of the Gond tribe/ community of the Nuapada district of Odisha. The cultural heritage in the form of arts, crafts, songs and dances of Gond community is very interesting study for scholars as well as historians. So, the authors have taken modest venture to focus on the arts, crafts and dances of the Gonds of the Nuapada District in Odisha.

Improving the English Skills of Elementary School Students in Tourism Areas

English is an international language used by the global community from various countries to communicate with each other by default. However, not all people living in tourism areas, including schoolchildren, have fluent English skills. Even though school children are the next generation, who will later develop tourism potential in the area, this service provides English language training to elementary school students in potential tourism areas in Belitung Regency. The community service method is in the form of pronunciation training and short conversations in English, delivered in English games and songs. As a result, children become more proficient in vocabulary and communicating briefly in English. The results of this study indicate that children can quickly master foreign languages if their learning is in the form of fun games or songs. So that English skills can begin to be applied to children and later will make it easier for them to communicate with foreign tourists who stop at these tourist sites.

Maintaining National Adab in the Digitalization Era: A Case Study of Points of Value in the Arrays of the Jula-Juli Ludruk Song in East Java

<p>Abstract<br />The morals of life are often spoken and passed down by the ancestors in the form of songs accompanied by Javanese gamelan. It was intended to maintain the quality of the civilization of the coming regeneration. This study aims to describe the values of sublime speech values in the chants of songs sung by comedians of the ludruk arts in East Java. Using a qualitative case study type approach, the source of the data is in the form of widely published documents of the July-July hymns. Verbal data collected were analyzed descriptively-qualitatively. The results of the research show that the lines of the jula-juli hymn contain substance in various fields of life. As an example, the points of civility in the global era are presented, namely (1) nationalism, (2) heroism, (3) education, and (4) security, (5) economy, and (6) religion. From these findings it can be concluded that etiquette for life needs to be taught through oral literary arts, especially songs in jula-juli so that the dynamics of regeneration remain grounded and side with the identity of the ancestor's speech.</p><p>Keywords: nation's manners, songs, jula-juli ludruk</p>

Analysis Of the Structure of Music Penanian Dolo Mesa'ri Tendan Lamatoto' Song

Penanian Dolo This is a spiritual song brought by evangelists from the Netherlands along with the Dutch colonial events in Tana Toraja. Penanian Dolo is a song or song that was originally used in the liturgy of Christian worship in Tana Toraja. Over time, Penanian Dolo was used by the people of Gandangbatu in the procession of carrying the corpse (Ma'bulle Tomate).This study aims to determine the form and structure of Penanian Dolo music, Mesa'ri Tendan Lamatoto'. The research method used in this research is qualitative research using sociology and musicology approaches. The results of the study show that Penanian Dolo music, the song Mesa'ri Tendan Lamatoto'is a one-part song form with a total of 8 bars composed of one sentence/period. The song Mesa'ri Tendan Lamatoto' has two clauses, namely interrogative sentences/antecedent phrases (bars 1 – 4) and answer sentences/consequences phrases (bars 5 – 8). Each has the same number of bars but in the consequence phrase motif there are sentence pieces that are not the same length, in other words, they are not symmetrical. This can happen because the division of motifs must pay attention to the integrity of a sentence because the unity of the sentence is more important than the importance of each tone. The motif of the song begins with a tonic chord and ends with a dominant chord to a tonic chord (perfect cadences). The development of dominant motifs uses repetition techniques. The rhythm used in the song Mesa'ri Tendan Lamatoto' uses three types of note values, namely not , notes ¼ and notes 1/8 . The measure or beat pattern used in Mesa'ri Tendan Lamatoto's song uses 4/4 measure, which means that there are four quarter notes in one measure. The tempo used in Mesa'ri Tendan Lamatoto song is moderato which means moderate with a speed of 92-104 beats per minute. The melody used in the Penanian Dolo song as a whole uses diatonic scales. On the other hand, the lyrics in Mesa'ri Tendan Lamatoto' contain aspects of worship and surrender to the almighty. The melody used in the song Penanian Dolo as a whole uses a diatonic scale. On the other hand, the poems in the song Mesa'ri Tendan Lamatoto' contain aspects of worship and submission to the almighty. The melody used in the Penanian Dolo song as a whole uses diatonic scales. On the other hand, the lyrics in Mesa'ri Tendan Lamatoto' contain aspects of worship and surrender to the almighty.