Song Genre Research Articles

Speech Patterns in Various Song Genres (Pop, Jazz, Dangdut, Rock and Malay)

This study discusses the forms of speech and communicative functions found in various song genres such as in Pop, Jazz, Rock, Dangdut, and Malay songs. This research was conducted to determine whether each genre has the same or different communicative function patterns. The speech act on this song is one way of conveying the message desired by the songmaker who is expected to have the desired effect. The research method and approach used in this study is a qualitative descriptive method. Where the song lyrics as research data will be determined and described the communicative function form of each speech in the song lyrics based on Searle's theory. after that, the communicative function form will be compared in each genre of song. The method and approach are used because the data in this study are in the form of speech in each song genre. There are five song genres used as research subjects, namely Pop, Jazz, Rock, Dangdut, and Malay. The results of the research conducted showed that the speech patterns that exist in the song genre have different communicative functions. Songs that should have expressive communicative functions, but from the data analysis that has been done above prove that the songs no longer only have an expressive communicative function. In fact, from the data above, assertive functions are more commonly found, namely dominating in Pop, Malay and Jazz genre songs. Rock genre song is more dominated by the communicative function of the directive. While the expressive function that should dominate the song only dominates the Dangdut genre song.

Reflecting on archaeology and the understanding of Song of Songs

The question of archaeology corroborating any ‘historical information’ is excluded from the outset by the poetic genre of Song of Songs. This contribution therefore focusses on archaeology’s more modest purpose as far as its relationship with texts is concerned, namely whether it can facilitate the understanding of the text by investigating the material culture that features in Song of Songs. Archaeology is therefore understood in terms of its more extended definition, including artefacts, (cultural) objects functioning as metaphors, and historical geography. Attention amongst others will be paid to cities mentioned (Heshbon, Jerusalem, Tirzah), the (not founded) David’s Tower, Pharaoh’s palanquin, fauna and flora, as well as pottery. Contribution: Although archaeology cannot inform everything in the text, the continuous archaeological endeavour has the hermeneutical function to transpose the reader into the ancient life (love) world (pun intended), preventing him or her of anachronistic projection of the present-day readers own world into the text, but also appreciating the (possible) common human condition which the present-day reader shares with the world of the text.

‘Something else is possible’: transcultural collaboration as anti-apartheid activism in the music of Juluka

AbstractThis article illuminates the musical activism of Juluka, an interracial South African band active in the late 1970s through the mid-1980s. Its analyses of three songs focus on intersections between Western popular music and a Zulu song genre calledmaskanda. By examining these cross-cultural interactions in the domains of harmonic progressions, formal structures and metric and rhythmic organisation, I demonstrate that the artistic fruitfulness of the band's collaboration was a powerful rebuke to the government's apartheid ideology, which sought to segregate not just people, but even their artistic expressions.

The Effects of Odd Time Signatures on Pop Song Enjoyment

Odd time signatures are a music theory concept and are not used often in modern pop music. Additionally, a significant issue of unoriginality is occurring in the modern pop song genre, and very little research has been conducted on time signatures. A study was conducted on how the time signature of a song impacts the enjoyment of a pop song in order to find a solution for artists to improve the quality of their songs. High school music students listened to both previously released pop songs and self-composed variations on a single pop song, rating each song after each listen in order to find this solution. The average enjoyment of all of the ratings of common time signature pop songs were statistically compared to the average enjoyment of all of the ratings of odd time signature pop songs. The previously released pop song segment of the study found that previously released common time signature pop songs were enjoyed significantly more than previously released odd time signature pop songs, but this part may have been subject to dramatic confounding variables. The second part of the study found that there was no significant difference in the average enjoyment of odd time signature variations than the average enjoyment of common time signature variations. These results imply that fans of pop artists would enjoy their songs no less depending on the time signature, and thus pop song artists can increase the originality of their songs by utilizing odd time signatures with almost no consequence.

Sosyal Ağlarda Çokkültürlülük Üzerine İnceleme: Youtube Tepki Videoları

Sosyal Ağlarda Çokkültürlülük Üzerine İnceleme: Youtube Tepki Videoları

How YouTube Mediations of Global Contemporary Congregational Songs Contribute to an Understanding of the Genre

Abstract Contemporary congregational songs (ccs) are a global genre of Christian worship, driven presently from Western production centres. Streaming media platforms, in particular YouTube, have become essential vehicles for disseminating these songs globally, as well as a way for fans to contribute to the popularity of songs through views, likes, comments, sharing, and uploading their own fan-created videos. While this activity has had some scholarly attention, it has not focussed on the varied forms these videos take and how they contribute to and nuance the definition of the genre. This article utilises the most sung songs data from recent Christian Copyright Licensing International reports across five regions to establish the 32 most sung ccs globally. A media studies analysis is then conducted, with contributions from musicology and theology, of the most viewed versions of those ccs on YouTube. Three typical video forms are identified and discussed in relation to the way they reflect and shape perceptions of the contemporary congregational song genre.

The song genre in the work of Ukrainian composers of the first half of the ХХth century: through the prism of folklore, kitsch, and hit

The purpose of the article is to consider the development of the genre of the song of the first half of the twentieth century. The methodology of the research is based on the historical and cultural and artistic methods of studying the genre of the song. The scientific novelty is to consider the genre of the song at different stages of its development (from folklore, amateur level, Kitsch, Biedermeier to a mass song, samples of socialist realist kitsch, pop culture, hits, etc.). Conclusion. The genre of songs during the first half of the twentieth century became one of the binding links of the "low" and "high" culture and due to its availability and easier perception, with frequent use of techniques and methods of Kitch, which later fallen the basis of pop culture, enabled the birth of such a The phenomenon as a hide, separate samples of which became a "classic", are popular today, taking their niche in the treasury of national musical culture.

Unmarried Lovers in the Song of Songs

Abstract The unmarried status of the lovers in the Song of Songs stands out against the expected cultural norms of an ancient Israelite society and of other more conservative biblical writers. Yet, as this article will argue, human lovers in love songs throughout the ancient Near East appear to be unmarried. The Egyptian love songs depict unmarried human lovers, and a number of new and recently published Akkadian love songs also depict human lovers who appear to be unmarried. Chastity, at least for women, was a common cultural expectation throughout the ancient Near East. Yet, in their love songs the lovers are unmarried, and this contrast with the social expectations of their culture should alert us to the fact that it is likely a mark of genre. Genres need not reflect the social setting within which they are written, and artistic works, like love poetry, often do not depict actual circumstances. Unmarried human lovers appear to have been characteristic of the love song genre in the ancient Near East, and as this article will suggest, this may perhaps explain why the Song of Songs would have been permitted and even gained popularity in such a society.

The Metrics of Seto Choral Laments in the Context of Runosong Metrics

The aim of this paper is to get an overview of the lament metrics in Seto oral song tradition, which belongs to the southern border area of the Finnic song tradition, and the placement and historical development of lament metrics in the framework of the whole Seto oral song tradition. In the paper the metrical structures of two main genres of Seto choral laments – choral bridal laments and death laments – are analysed that share common features with solo laments and are similar to the structures of Seto runosongs. Metrical structures of the laments are detected based on sound recordings, taking into account the linguistic structure of the lines and the varied realization of it in a musical performance rhythm.
 The analysis showed that laments’ metrics where 5-unit end structures play an important role, differs the most from the main body of runosongs and is structurally more similar to a group of runosongs with refrains and varying line length. Outlining the development patterns of the metrical system of Seto songs, the influences of local unique musical tradition with varied rhythmic structures atypical of the most runosong area, specific functions of ritual song genres, historical changes in language, as well as possible external connections to early eastern and southern song cultures are highlighted.

Pop-song and academic chamber vocal music: points of crossing

The purpose of the article is to identify the points of crossing of pop songs and academic chamber vocal music in the Ukrainian cultural and artistic space of the second half of the 20th century. The methodology involves the use of analytical, systemic and historical, and cultural methods to identify the relationship between the pop song genre and academic chamber vocal music in the Ukrainian musical culture of the second half of the 20th century. The scientific novelty of the work lies in the characterization of I. Karabits’ pop songs from the point of view of combining the features of pop and academic chamber vocal music in them. Conclusions. Pop song and chamber vocal music, represented by the genre of solo singing, developed separately in the Ukrainian cultural space of the 1950s-1980s, but their paths often crossed. In the context of their interaction in pop-song creativity, the process of academization takes place, and in academic music – hitting. Based on the analysis of two popular pop songs by I.Karabits «My land is my love» and «A song for good», a specific feature of a number of vocal compositions of the composer was discovered and described, which are functionally ambivalent and correspond to the aesthetics of both academic and pop music, and therefore, they are indicated as works of dual-use – for both the academic and the pop scene. This duality is based on the musical component of a vocal work, which, with variability in the interpretation of the instrumental (and sometimes vocal) component, can enhance the features of both academic and pop music.

NILAI MORAL DALAM SAJAK ‘KE MAKAM BONDA’ OLEH USMAN AWANG: SATU ANALISIS BAHASA, NILAI DAN STRUKTUR SERTA KAITANNYA DENGAN KONSEP DAKWAH

Language engineering in grammar is very high in value. Sometimes the language that is written in the bytes of the grammar refers to its expressed and implied meanings. The processing of meaning and meaning of the language depends on the understanding of the author of the narration and the appreciation by the listener. Language in grammar has a moral value that is useful for the audience of readers as well as driving towards the application of da'wah value in life. Thus, this study aims to see the moral value in the "Ke Makam Bonda" in terms of language, value, and structure through relevance theory. In addition, the reviewer also saw the relationship between language, value, and structure in the bytes of the narration is associated with the elements of da'wah until it generates awareness to the listener. The results of the study found that the use of language, value application, and systematic structure arrangement especially implemented the rhyme to the genre of traditional nasyid song adds to the listener's appreciation of the message delivered. The impact of the adaptation has had a positive impact on the community so that it becomes a calm rhythm heard and leaves a very useful advisory effect and da'wah message. This clearly indicates that the permeation of the language style in Usman Awang's slang was very suitable to the society's appreciation until now until it was successfully translated by anyone.

Проблема воспитания этнокультурной идентичности у актеров средствами музыки

The study aims to consider formation of ethnocultural identity in student actors by means of the Russian folk song and romance. Scientific novelty of the work lies in addressing a new perspective of this sociocultural issue, in considering influence of various genres of folk song and classical romance on formation of the ethnocultural component in the personality of students pursuing a degree in “Actor’s Art” as a part of the subject “Music Education of the Drama Theatre and Film Actor”. As a result, it is proved that the main properties and structural components of ethnocultural identity can be formed under the influence of the features that characterise musical semantics of folk song and romance genres.

Социальные песни кубанских ногайцев: функционально-стилевые характеристики жанров

The paper aims to reveal functional and stylistic peculiarities of the Kuban Nogais’ social songs of the XVIII-XX centuries. Scientific originality of the study involves identifying typological (morphological) features of the Kuban Nogais’ social songs. The analysis indicates that social songs are based on the mixture of form-generative structures (stanza patterns, prosodic-rhythmic patterns). The findings allow concluding that diffusion of the social song genre testifies for stability of this genre system, elements of which do not disappear but transform and adapt to new environment.

Analysis of evolution processes in the Ukrainian variety song art at the end of XX — beginning of the XXI century in the scientific works of Mykola Mozghovyi

The purpose of the article is research of the scientific and creative heritage of Mykola Mozghovyi in the context of the evolution processes analysis in the Ukrainian pop song art at the end of XX — beginning of XXI century.
 Methodology is based on culturological and art history research of contemporary musical culture.
 Results. The article is devoted to the study of the art, pedagogical and scientific heritage of the Ukrainian pop singer, poet and composer, People’s Artist of Ukraine, candidate of art history, professor of Dragomanov Kyiv National Pedagogical University Mykola Mozghovyi in context of historical development analysis of Ukrainian variety song art. An analysis of modern scientific literature devoted to the historical development of mass musical culture and show business in Ukraine has shown that this issue remains almost the least studied sphere of national culture. In modern conditions of show business functioning, the importance of studying the artistic achievements of the past, researching the creativity of such notable professionals as Mykola Mozghovyi is emphasized. It is shown that Mykola Mozghovyi as a scientist was the first who systematically studied the evolution processes of Ukrainian variety song art formation in Ukraine, determined a number of factors that define the level of “massification” of the national variety art and analyzed the role of technical means in the historical development of the Ukrainian variety music at the end of XX — beginning of XXI century. Mykola Mozghovyi attributed particular importance to modern market mechanisms and cultural factors as determining factors in the evolutionary development of the pop song genre.
 Novelty. The analysis of evolutionary processes In Ukrainian variety song art at the end of XX — beginning of XXI century was further developed based on the use of scientific works of Mykola Mozghovyi.
 Practical significance. Materials and conclusions of the study can be used in practical activities of Ukrainian producers, managers and performers who are interested in promoting their works, further scientific and educational works, for example, in the development of lectures on the courses associated with variety music.

Algorithm and software for determining a musical genre by lyrics to create a song hit

One of the needs of music business is a quick classification of the song genre by means of widely available tools. This work focuses on improving the accuracy of the song genre determination based on its lyrics through the development of software that uses new factors, namely the rhythm of the text and its morpho-syntactic structure. In the research Bayes Classifier and Logistic Regression were used to classify song genres, a systematic approach and principles of invention theory were used to summarize and analyze the results. New features were proposed in the paper to improve the accuracy of the classification, namely the features to indicate rhythm and parts of speec h in the song.

‘My Gunners will burn your houses, my soldiers will pillage them’: what French people were singing about when they sang about Napoleon

Abstract Fifty years after his death, almost the only song that French people still sung about Napoleon retold his conquest of the city of Mantua in 1797. ‘Le bombardement de Mantoue’ is an example of a popular European folk genre, the siege song. Siege songs use the metaphor of a violent wooer and a reluctant maiden to narrate the capture of cities. They circulated, in print and orally, from the mid seventeenth to the mid nineteenth centuries, updated for all conflicts by the substitution of the name of the besieger and the city. While often factually inaccurate, such songs are evidence of historical consciousness, and they could be used to express an identification with a national or political cause. They also anchored an early modern concept of war in popular culture, in which victory was measured in territory acquired, and in which a rampaging soldiery was pitted against a civilian and female population. Sieges envisaged as a violent courtship relocated military events into the language of interpersonal relationships, and thus they became relevant in many day-to-day contexts. Siege songs are akin to pastourelles, the most popular of all song genres, but whereas in the pastourelle a knight or lord pursues a shepherdess, in ‘Le bombardement de Mantoue’ socially superior women are violated by lower class men. This fantasy of social, as well as sexual, conquest helps explain the continuing popularity of this song.

FROM “RUSSIA” TO SIBERIA...: MODERN EXPEDITIONARY NOTES ABOUT THE UDMURTS OF THE KRASNOYARSK KRAI

The Udmurts moved to Siberia for two reasons: voluntarily during the Stolypin agrarian reform (1910-1912), and forcedly during the period of dekulakization (30s of the XX century). The settlers got a second homeland and compactly located in the Tomsk oblast and the Krasnoyarsk Krai. Three expeditions have been made to the Krasnoyarsk Udmurts so far: in 1974, 1991 and 2020. This article enters new scientific information about the modern state of the folklore tradition of the Udmurt settlers. The material was fixed on audio, photo and video equipment in three districts of the Krasnoyarsk krai: Birilyussky, Bolsheuluysky and Dzerzhinsky. The most of the memories are related to stories about the migration from Udmurtia to the Krasnoyarsk Krai. Special attention was paid to the celebrations and rituals held by local Udmurts. Some song genres were recorded: ritual (wedding, guest, feast) and non-ritual (traditional lyrical, author's and borrowed from the repertoire of neighboring ethnic groups-Russians, Ukrainians, Belarusians). The main part of the songs belongs to the north-Udmurt tradition, as most of the performers are representatives of the Igrinsky district of Udmurtia.

Song and dance genre specifics in works for button accordion by the composers of the Department of Folk Instruments of Ukraine of Kharkiv I. P. Kotlyarevsky National University of Art

Recent years have provoked an increasing interest in button accordion arts of Ukraine therefore a great demand for button accordion performance based on song and dance genre features is to be of great importance. Our research work deals with the embodiment of the song and dance genres features in academic button accordion art. The above-mentioned phenomenon has led to the appropriate systematization of their transformations in the musicological viewpoint therefore is stated to be very novel. This systematization is revealed from stylization to various arrangements, further transcriptions, fantasies, paraphrases, works on the theme of other artists that is to create the genre-style transformation. The aim of the research is to determine the genre-style methods of composers’ work for button accordion on the basis of song and dance genre. Present scientific research scope led to the solution of the following tasks: the disclosure of methods of author’s song and dance originals processing, identifying the specifics of drama and means of musical expression, justifying the popularity of works in the domestic musical performance. The following methods are used: analytical, comparative-historical and structural-functional. Summing up the results, it can be concluded that stylizations of dance and song genre are stated to be a great component of button accordion art. The use of European modeling samples (gavotte, mazurka and musette) contributed to the button accordion performance leading to sound production sophistication, high refinement of the sound palette and dynamic nuance, which enriched the artistic means of expressiveness, contributed to the evolution of interpretive experience. In the arrangements and transcriptions (by other authors) of Latin American dance genres there was an enrichment of rhythmic intonation structures and timbre palette of the instrument that lead to great popularity among performers and listeners by the interaction of academic art and genres belonging to the ‘third layer’. Among the opuses created in the genre-style transformation of songs and dances, the re-intonation of the original musical compositions received high artistic results. The use of modern means of button accordion expression, construction of new musical forms, application of elements of musical polystylistics, modification of genres are aimed at multifaceted reproduction of the figurative content of the original source, giving it a new artistic value and concert life. In the musical works of button accordion composers, the direction of song and dance genres features continuously enriches the quantitative and qualitative musical literature, so the prospects for further scientific research are relevant and promising.

Batyar Songs in Viktor Morozov’s Creativity

Relevance of the study. The batyar subculture has already become the subject of many scientific works of Polish and Ukrainian researchers as a social phenomenon with its own jargon and cultural traditions. In particular, this issue has become central in the works of U. Jakubowska, A. Kozytsky, O. Kharchyshyn, Y. Vynnychuk, N. Kosmolinska, W. Szolginia and others. Batyar songs as a layer of Lviv city music got a new life thanks to the creativity of V. Morozov, realized in the publication of three albums with neobatyar songs. This group of songs and its genre and intonation parameters have not yet been at the center of musicological research and open up new perspectives for learning of genetic links between urban music and popular contemporary music in Ukraine.The purpose of the study is to analyze the genre and intonation features of Viktor Morozov’s albums, the principles of their cyclization, to explore the genetic links between batyar and neobatyar songs.Results and conclusions. Each of the three albums “Only in Lviv” (“Tilku vi Lvovi”), “Heart of the batyar” (“Serdtse batiara”) and “Batyarsky blues” (“Batiarskyi bliuz”) reveals itself as a large genre, which structure builds an expanded musical dramaturgy. In many aspects, it is connected with principles of the cyclization of academic genres, in particular, the vocal cycle and the program suite. The basis of the dramaturgy development of the albums was the method of contrast at the level of thematic, genre, tempo-metric organization. In addition, all three albums actually formed the one line of transformation of batiar songs from the authentic sound of songs from the period of the 20–30s of the twentieth century, and to new author’s — neobatyar songs, there were created on the basis of modern genres.New plots and themes of the verbal text of neobatyar songs also directly appeal to the original period of the first Lviv batyars at the beginning of the 20th century. The love adventures of the batyars, the struggle for authority and respect among the representatives of the subculture, the love for the native city, the glorification of fearlessness, life with not burdened by laws and fear became the main topics in neobatyar songs too. A characteristic local dialect is preserved, including a combination of vocabulary of various language systems; the use of lexical distortions, obscene vocabulary takes on a new embodiment through modern neologisms, borrowings. Songs are still performed exclusively by men, and the main genre outline is dance, including polkas, waltzes, tango, staer and others. The phenomenon of the double nature of batiar songs is organically embodied, where folklore and author’s songs are expressed through a combination of anonymous and original songs of the prewar period and neobatyar songs created by the authors of the albums. The nebatyars headed by V. Morozov in the albums “Only in Lviv”, “Heart of the batyar” and “Batyar blues” deliberately appeal to the layer of batyar songs, aiming to give new life to the old batyar song genre in the context of modern musical trends, to save the unique phenomenon from oblivion, rethink them in the context of the realities of our time. Thanks to the conceptual approach to the creation of the aforementioned albums, the authors managed not only to organically continue the musical traditions of batyar songs, but also to give them new life at a fresh, even brighter artistic level.

Corporeal Sounding: Listening to Bomba Dance, Listening to puertorriqueñxs

Afro-Puerto Rican bomba, the island’s oldest extant genre of drum, dance, and song, is a fundamentally sonic practice. Unique in the tight relation between the execution of movements and the simultaneous sounding of the lead drum, bomba dance enacts a challenge to the Western focus on the visual spectacle of dancing and draws attention to what Ashon Crawley calls the “choreosonic,” or the inextricable linking of movement and sound. Bomba dance attends to creating rhythmic variation through specific movement choices strategically placed within and simultaneously producing the sonic framework of drumming and dancing. As such, it requires a listening that ultimately structures a relationality that interrupts the colonial, white supremacist and heteropatriarchal logic that contains Puerto Rican bodies. Through a close reading of different bomba dancings, this article examines how the dancer’s sounded movements claim, not space itself, but a relation to space and place, pulling bodies into the social and unravelling temporal boundedness. It argues that bomba’s growing popularity on the island and in the diaspora is a measure of its capacity for “listening to flesh,” “listening to flesh speak,” underscoring how this particularly addresses and is attuned to a subaltern, racialized, and femme-identified flesh. As such, bomba is an important case study examining the intersections between sound studies and performance studies, blurring clear distinctions between listening to and doing sound.