Role Of Lyrics Research Articles

A NATIONAL WORLDVIEW AND TRADITIONS IN KAZAKH POETRY OF THE 1960-1980S

The article states that literature without a national character, without traditions, cannot exist, has a national character - its element, the legitimacy of development. It is possible that each national literary path and history created together with the life of the people, under the influence of various social and political situations, are subjected not only to depressive, but also to periodic obstacles, sometimes progressing, outpacing the pace of development of society. But one thing is obvious, that the historical development of literature occurs spontaneously in the national channel, solely on the basis of national traditions. 60-80-ies Kazakh poetry is a feature of national values, a new attitude to tradition and other decisive relationships. Along with the continuation of the traditions of fine instruments, the issues of his artistic development, making changes worthy of time and enrichment have become relevant. The national worldview in Kazakh poetry is a national poetic tradition. The national poetic tradition is a precious pillar of all creativity. One way or another, the tradition did not develop, did not manifest itself in its specifics due to the differences of the epoch and time, there was no creation of tradition. Although traditions are developing and enriched with innovation, in the 60s the galaxy of poets that entered our literature continued the tradition and acquired a new character in our poetry. This is given a scientifically based maximum assessment. What is the role of lyrics in the national poetry that has become the object of research, and what is its nature, what values sprouted from its soils of that time and spread leaves, and what is its path of growth leading to, answering the questions, in what orientation and at what level, we put forward the significance of our work. Studying the trends of Kazakh poetry of the 60-80s, in order to comprehensively and deeply cover the rich heritage, we decided to limit ourselves to the work of a certain group of poets. Also, based on the works of many scientists, we have shown that Kazakh poetry has a deep source. All these conclusions, balanced thoughts and conclusions that we observe during the study of the national character of the Kazakh poem reflect what has been said.

The Role of Lyrics in Estonian Literature: Three Exemplary Cases

Song lyrics are usually positioned in the margins of literature and tend not to be in the first line when writers and their works are discussed. There have been debates about whether to consider lyrics as literature and/ or ‘real poetry’. The article examines three cases in Estonian literature where melodised poetic texts have played a significant role in Estonian culture and are considered to be core texts: “Mu isamaa on minu arm” (My Fatherland is My Love) by Lydia Koidula, songs from the feature film Viimne reliikvia (The Last Relic), lyrics written by Paul-Eerik Rummo, and “Laul Põhjamaast” (“Song of the Northern Land”), lyrics by Enn Vetemaa. These also represent three ways a text can function: “Mu isamaa on minu arm” was first written and published as a poem and later set to music; The Last Relic represents a case where texts were initially written as lyrics and later published in a collection of poems; “Song of the Northern Land”, by Enn Vetemaa, was meant to be and has remained a song and has not been included in poetry collections.

The role of lyrics in music-exercise performance on perceived exertion

The role of lyrics in music-exercise performance on perceived exertion

Feeling-of-knowing for songs and instrumental music

We explored the differences between metamemory judgments for titles as well as for melodies of instrumental music and those for songs with lyrics. Participants were given melody or title cues and asked to provide the corresponding titles or melodies or feeling of knowing (FOK) ratings. FOK ratings were higher but less accurate for titles with melody cues than vice versa, but only in instrumental music, replicating previous findings. In a series of seven experiments, we ruled out style, instrumentation, and strategy differences as explanations for this asymmetry. A mediating role of lyrics between the title and the melody in songs was also ruled out. What emerged as the main explanation was the degree of familiarity with the musical pieces, which was manipulated either episodically or semantically, and within this context, lyrics appeared to serve as an additional source of familiarity. Results are discussed using the Interactive Theory of how FOK judgments are made.