Romantic Songs Research Articles

Latin American Folklore: Roots, Genres, Uniqueness

Latin American folklore is a heterogeneous phenomenon, encompassing different levels, which has been determined by the historical conditions of its formation, existence and evolution. The so-called folklore criollo, which dates back to the Spanish folk poetry brought by the Spaniards to America during the colonial period, is an important part of the Latin American folklore. The specific character of historical and socio-economic circumstances that influenced the formation of the folklore criollo, explain its relatively late formation, as well as the transformation and reinterpretation of the original Spanish popular poetic tradition. As a result of syncretisation, Creole folklore has incorporated various elements of the folk art of the indigenous peoples, including those of African origin. The main genres of Creole folklore are romance, décima (glossa) and copla, which have evolved since their birth in Spain and later in the New World, where they came with waves of Spanish immigrants. The specific conditions of life in the American colonies, in which such psychological qualities as courage, bravery, aggressive ness and violence became the norm of existence, determined the content, motifs and plot of folklore. At the same time, romantic poetry was «folklorised», it was adapted to the collective environment, its themes were simplified. Folk songs and romances were given a sentimental, artificially dramatic character of exaggerated suffering. Romantic songs have achieved great popularity, as they exist today in different Latin American countries in different forms or genres, namely the corrido, the song ranchera, the yaraví, the mulisa, among others. The example of the folklorisation of the romantic style was the tango song that was formed in Argentina and Uruguay as a massive amateur composition in the 1920s. Different genres of Creole folklore are present with their own specificity in all Latin American and Caribbean countries and deserve new studies taking into account new conditions of social and human development.

The Middle of the Distance

In the perception of Richard Wagner's Lohengrin and in scholarly discourse on it, the legend associated with the tales of the Knights of the Grail prevails. But the romantic element in opera had a political and even revolutionary meaning for Wagner. The historical layer of the operatic action in Lohengrin draws on the Deeds of the Saxons by Widukind of Corvey and recounts the birth of the Yrst Germanic parish, united by Henry the Fowler, the “Father of the Fatherland” — and the Yrst Germanic emperor. The Romantic generation of German revolutionaries — Wagner's peers and associates — excavated the ancient history of Germany and German mythology from old manuscripts and established it in the minds of the aedgling nation. Lohengrin was the Yrst German opera to give artistic life to the revolutionary and patriotic ideas of the German Renaissance. The peculiarity of the opera lies in the interplay of the original Wagnerian principles of composition with operatic forms of Italian origin. The composer would later cite Johann Sebastian Bach as the ideal example of the “Germanic” in his ludicrous French wig and his fundamentally Italian style. By combining the rhetorical principle directly derived from Bach's music with a variety of German melodic sources from chorales to Romantic songs, Wagner had fully mastered his musical language. This article examines the compositional symmetries, supports, and arches that build the integral structure, new duet forms, and other Yndings that had a continuation in operas aber Lohengrin, as well as the main feature of this work: the combination of lyricism and tragedy, history and myth, which opens the way to countless interpretations of meaning on the modern opera stage.

Marginalized female in two song lyrics, Tragedi Cinta: textual-metaphoric representations

Old romantic songs of the 1980s linger; especially for people, at the moment, in their 60s or so. Such songs are rich in moral teaching, applicable in any religion on earth. The current study which examined Benjamin S’ and Ida Royani’s the same song lyrics Tragedi Cinta but of different versions aimed to construe the meanings of both songs viewed from their textual-metaphoric representations. The two song lyrics were analyzed employing a software application UAMCT 6.8, adopting Hallidayan SFL on thematic progression, leading to their modes of the discourse. Also dealt with herein is the use of both grammatical and lexical metaphors to examine how meanings are realized. The findings show that ‘female’ is marginalized in three ways, namely (1) the use of active voice without any attempt to hide the identity for doing sincere things as opposed to ‘male’ put in passive voice to hide the identity for doing bad things, (2) the use of marked themes indicate high literary values employed in both song lyrics, (3) the use of both lexical and grammatical metaphoric styles implies excellently-written song lyrics, and (4) moral teaching of both song lyrics is also highlighted to give evidence of ‘female’ marginalization and it is, thereby recommended to avoid romantic juvenile delinquency, especially of the millennial generation termed as ‘digital natives’ who can get access to abundant information without limit of time and space; no matter how hard the social, religious and familial authorities try to ban the negative impacts of the world’s largest information technology industry.

PROBLEMS OF INTERPRETATION OF F. SCHUBERT’S VOCAL COMPOSITIONS IN THE CONTEXT OF VOCAL PERFORMANCE AESTHETICS OF MODERN CHINA

F. Schubert’s romantic songs are very popular with listeners, but not every singer is able to convey all the richness and complexity of the author’s intention. Out of the composer’s vast creative heritage, only a small part of the songs is performed, including vocal cycles based on W. Müller’s texts. The diffi culty is caused by a number of features of the composer’s work. The author of the article focuses on the main problems of performing interpretation of songs by Chinese singers. These are the problems of phonetic correspondence of texts and music, performance in the original language and in translation into the language of the audience, peculiarities of the Chinese national and academic manner of performance, differences in the interpretation of performers with high and low voices.

Gending Aesthetics in Janger Menyali Dance in Sawan District, Buleleng Regency

Janger dance is a variety of Balinese art which is classified as a type of social dance for young people in the form of groups (between 16-20 people), very popular among Balinese people. During the dance, groups of female dancers (janger) and groups of male dancers (kecak) dance and sing in unison (mutual sinawurin) with humorous and sometimes romantic songs. The gamelan that is usually used to accompany the Janger dance is called Batel (Tetamburan) which is equipped with a pair of gender puppets. The dance moves are still based on the aesthetic principles of Balinese dance, and the clothing uses the typical janger. Janger dance can adapt to contemporary developments, so janger activists have the freedom to interpret its form, melodies with song lyrics, musical accompaniment, and choreography. In the Janger Menyali dance, the uniqueness of this dance is in terms of the clothes that look quirky, resembling the clothes of the Dutch soldiers when they docked at the Buleleng customs, and the name for the dancers, namely for male dancers it is called jipak, while for female dancers it is called parik. In this study, it is more specific to the aesthetics of gending in the Janger Menyali dance regarding the two pieces that must be performed, namely Dewa Ayu Janger and Mepamit Ring Ratu Gusti Ayu which have the meaning of inviting Dewa Ayu Janger to attend the performance and returning Dewa Ayu Janger to return to his stana with the use of sekar alit banten properties and also kuwud mepayas.

The Chinese Art Song, yishu gequ: Between Tradition and Modernity

The Chinese art song, yishu gequ 藝術歌曲, is a typical genre of New Music (Xin yinyue 新音樂) of the May Fourth Movement. Such pieces were primarily composed by Chinese graduates of European and American universities who found inspiration in European Romantic art songs, especially nineteenth-century German lieder. The existing Western literature about this genre emphasizes the connections between the Chinese art songs of the twentieth century and European Romantic songs and does not consider any relationship with the domestic Chinese tradition. Publications by Chinese scholars also do not examine in any detail specific connections to the Chinese tradition at the ideational level. As this paper demonstrates, the Chinese art songs that emerged during the May Fourth Movement were not created solely by following a Western model. Their uniqueness is the result of combining the search for “new culture” with the significant traces of domestic roots in the social role of music and the tradition of joining words and music in a single artistic whole. The paper first explores the emergence of the art song in the context of Chinese musical modernization, and then, through citing theoretical works and analyses of select compositions by three of the most famous art song composers – Xiao Youmei 萧友梅 (1884–1940), Zhao Yuanren 趙 元任 (1892–1982), and Huang Zi 黃自 (1904–38) – it demonstrates the various approaches to creating art songs, especially in terms of how they were related to the domestic tradition. I have chosen examples that allow us to observe the gradual adoption of an originally European genre in the Chinese cultural environment and various factors that influenced how this genre changed. I also examine the changing ways in which this foreign genre interacted with the domestic Chinese environment.

GENRE AND STYLE SPECIALIZATION OF SOLO SINGING IN M. V. LYSENKO'S MUSICAL WORKS

The aim of the research is to reveal the factors and regularities of genre and style specialization of M. V. Lysenko’s chamber vocal pieces of. The methodological basis of the paper is the theoretical principles of analytical methods of working with vocal pieces as a group of genres of vocal music in its inherent immanent nature: it is a synthetic formation (synthesis of the Word and the Music), where verbal text and certain principles of its musicalisation (generalization, detailed elaboration or their combination) are of primary importance. Hence, all the structural components of solo singing (vocal melodies, instrumental part) should be considered in terms of musical embodiment of the poetic original (architectonics of vocal melodies and instrumental themes), and include the aspect of the relationship of authorial systems (Composer – Poet). The scientific novelty of the research is presentation of the laws of genre and style specialization of Ukrainian solo singing, which in the creative experience of M. V. Lysenko are a classical basis of genre differentiation of chamber vocal works: the songs in the folk spirit, romantic songs, romances, monodramatic solo singing/ monologue. Conclusions. Such a phenomenon as Ukrainian solo singing is justifiably considered to be the symbolic embodiment of the Ukrainian mentality (episteme of “philosophy of the heart” / cordocentrism and reflectivity of worldview). Therefore, it is not surprising that as a genre form of chamber vocal lyrics the solo singing occupies a prominent place in the creative heritage of M. V. Lysenko, the founder of the Ukrainian national school of composition. It was he who worked out the internal genre and style differentiation of solo singing in its classical foundations. According to this, the very concept of "solo singing" claims to denote such a wholeness as "chamber vocal lyrics" with its genre and style variants, each of which is focused on certain principles of musical poetic relations. The latter, in fact, determine the technique of vocalization of the verbal text with a focus on the embodiment of the poetic code in accordance with the genre specifics. This determines the differentiation of architectural principles of vocalization of the poetic original (a measure of reproduction of declamatory specifics of musical expression) and intonation texture specialization of instrumental themes, which also always has a differentiated expression in the system of music-poetry relations. Subsequently, the classical foundations of genre and style specialization of solo singing laid by M. V. Lysenko became genre invariants and entered the works of modernists (for example, solo songs by Nestor Nyzhankivsky and Vasyl Barvinsky) as ways of modelling the genre form of chamber vocal lyrics without loss of connection with invariant structures.

Romantic songs by the Turkish ashik Karacaoğlan: key motifs and system of poetic imagery

The goal of this research lies in the analysis of romantic motifs and corresponding poetic images in the works of the prominent Turkish ashik of the XVII century Karacaoğlan, as well as in determination of the nature of interaction of the folklore and his original tradition therein. The article employs literary text analysis, as well as the method of description and comparison. Using the specific examples, the author examines the key motifs of Karacaoğlan’s romantic lyrics (praise and admiration of the beauty of the beloved; infidelity of the beloved; separation; doubting the feelings of the beloved, etc.), and the imagery system associated with these motifs: a nightingale, rose, grus, a “burning heart”, a “wounded soul”, landscape sketches (snowcapped mountains, light breeze, etc.). Analysis is also conducted on the artistic means of creating the portrait of a beauty: her face, eyes, eyebrows, hair, manner of walking, clothes, and accessories. Literary works of the Turkish ashik Karacaoğlan have not previously become the object of separate research within the Russian science, which detfines the novelty of this article. The conclusion is made that the traditions of folklore and Diwan (Sufi) poetry are organically intertwined in the works by Karacaoğlan, which determines the specificity of poetics of ashik literature not only of the XVII century, but also the entire time continuum. This study contributes to clarification of the typology and poetics of ashik poetry, as well as the nature of interaction of the folklore and the author’s individual tradition within a single work.

PERFORMANCES OF T. H. SHEVCHENKO STATE ACADEMIC UKRAINIAN DRAMA THEATRE, KHARKIV, BASED ON THE PLAYS BY MYKOLA KULISH AS ISOLATED ATTEMPTS AT SELF-IDENTIFICATION OF THE THEATRE DURING THE PERIODS OF FUNDAMENTAL SOCIAL CHANGES

The theatrical legacy of Mykola Kulich is significant for ‘T. G. Shevchenko’ Ukrainian Drama Theatre, Kharkiv, because he created his plays primarily for ‘Berezil’ Theatre. Despite the fact that over the next four decades the works by M. Kulish were artificially removed from the conceptual and artistic context of the theatre, on the eve and during the Independence of Ukraine and on the threshold of a full-scale Russian–Ukrainian war the plays of this author gain a significant influence on the development of the theatre ensemble again. The firSt performance based on a play by M. Kulish was ‟Sonata Pathétique” directed by Bronyslav Meshkis in 1972. In the years of Stagnation, this work had a special poetic soundscape, which diStinguished the vocabulary of M. Kulish’s work from the works of Soviet authors of that time. The play ‟That was how Huska perished” (1985) directed by Oleksandr Arkadin-Shkolnyk reflected the tendency of a certain philiStine crawling of the Ukrainian theatre againSt ‟the great Russian culture”: all the romantic songs in it were sung by the actresses in Russian. The production of ‟Mina Mazailo” (1989) directed by Oleksandr Biliatskyi played the moSt prominent role in the hiStory of Stage readings of M. Kulish’s works in ‘T. H. Shevchenko’ Theatre. The social vector of its orientation coincided with the tendency to rehabilitate the artiStic ideas of repressed Soviet figures during PereStroika, and the brightly theatrical ensemble culture recorded the desire of the young actors involved in it, Students of O. Biliatskyi, to fight againSt the “social-realist theatre” Stereotype. The experimental production ‟Maklena Grasa” (1993) directed by Stepan Pasichnyk was performed by only four actors and reflected the artiSt’s complex introspections on the hiStory of Ukraine of the la1t 70 years, personified in the image of Maklena, which allowed itself to be deceived by politicians. The moSt controversial, as if it had no specific concept, was the play “The ReformiSt” directed by Mykola Yaremkiv (2003) based on the tragic work ‟Narodnyi Malakhii”, which was not left in the repertoire. The premiere of ‟Maklena Grasa” directed by S.Pasichnyk on the main Stage of the theatre was prevented by the Start of full-scale invasion of the Russian army but the discourse of this performance was formed precisely under the influence of the diSturbing forebodings of the previous months.

Rádio que parla d´amore:

Este artigo apresenta o programa radiofônico Dick Danello Parlando d´Amore que permaneceu no ar de 1981 a 2016 em emissoras paulistas. O programa pode ser compreendido como documento que integra a memória radiofônica brasileira e revela um gênero pouco estudado, programas para imigrantes e seus descendentes. O artigo objetiva analisar esta linguagem composta por cartas de ouvintes, seleção musical, a linguagem do performer Dick Danello. Teorias do rádio, da escuta e dos afetos que apontam a relevância do sentido da audição e dos vínculos entre performer e ouvinte para a experiência radiofônica assim como estudos sobre o amor e a canção romântica fundamentam teoricamente o trabalho. Entrevistas e consultas a documentos de arquivo também compõem o percurso metodológico. Espera-se demonstrar a importância das vinculações amorosas para a construção da (s) memória(s) que programas voltados à comunidade de imigrantes italianos produziram ao longo da história do rádio brasileiro.

Shiny shabomen. Young instrumental musicians in Accra, and performances of masculinities in popular music

‘Shaboman’ is an ironic self-designated nickname, used by young male band musicians who rush from one gig to another in Accra, Ghana. Being active in diverse musical genres (gospel, highlife, brass, neo-traditional, [afro-]pop), they pursue professional aspirations with dedication, favor wistful romantic love songs, and train girls how to play musical instruments. As these young men present a contrast to dominant narratives on young African men, this paper aims to disrupt and complexify such masternarratives by documenting various facets of masculinities the instrumentalists (aged between 20 and 32) perform in their music practice. In the process, microprocesses of gender production in popular music are traced. Based on extensive ethnographic work in Accra between 2013 and 2018, the analysis draws on two distinct bodies of theoretical work: on cultural performance and performativity of gender in music (Butler; Madison and Hamera 2005; Livermon 2014a, 2014b); and on insights from studies on gender and masculinities in Ghanaian popular music (Asante-Darko and Van der Geest 1983; Adomako Ampofo and Asiedu 2012; Shipley 2013a). Contextualizing the shabomen’s staged masculinities among a variety of other manly ideals in Ghanaian popular culture, I highlight how acts of maintaining and subverting gender conventions are intertwined in popular music practice. Furthermore, I depict how gender performances are linked to age group, and to place and belonging at the same time.

ECO-PSYCHOLOGICAL ANALYSIS OF BIMBO�S BELALANG SONG LYRIC: A DISCOURSE PERSPECTIVE

The current study investigated Bimbos Song lyric entitled Belalang in a Discourse Perspective. It has come to be known that Bimbo is a senior music group, specializing in deep philosophical touches of romantic songs. Belalang is a song attempting to create an analog of an insect (mantis) with special mating behaviors to human love affairs tied in dangerous wedlock. The lyric was analyzed in two ways, (1) to find out the field, tenor and mode of the discourse, employing the analytical framework of Systemic Functional Linguistics (SFL) in a macro sense, and (2) to find out the eco-psychological phenomena, employing the analytical framework of eco-psychology. The findings show that both mantis (with its special mating behavior) and humans (in showing true love to the destructive wife) have a similar patternto preserve the ecosystem or in other words to create a conducive environment. The moral teaching seems to support the old saying that to love does not necessarily own despite the presence of love-chemistry. A seemingly peaceful marital life has to come to its end due to an unexpected mystical curse of Bahu Laweyan. Yet, secondary love can be made possible in search of peaceful lives, to avoid self-destruction.

Language, lyrics and themes: A study on the romantic songs of Dr Bhupen Hazarika.

Dadsaheb Phalke Award winner Dr Bhupen Hazarika is a well-known name in the cultural sphere of Indian music and films. In this study of the romantic songs of Dr Hazarika, we have tried to explore the different themes of love and romance ranging from the first flush of love to betrayal, passion, unrequited love, ethics, morality, loneliness et al.

Exploring the Nature of Music Engagement and Its Relation to Personality among Young Adults

This study examined the relationship between music preferences (MP), listening styles (LS), functions of music (FoM), perceived rasa (music), and personality traits (PT – Big Five Factors). A sample of 77 young adults (M = 39; F = 38; M = 22.7 years) completed measures of the above constructs and data were analysed via correlations, one-way ANOVA, post hoc tests, and T-tests. Significant correlations were found between LS & PT; MP & PT; FoM & PT; FoM & emotion; and LS & FoM. Findings indicated stronger preferences for genres namely Romantic songs, Soft songs, and Filmy (Sad) songs. Gender difference existed in terms of MP, perceived emotions and LS. Music listening mainly served as a ‘source of pleasure and enjoyment’ and which ‘calms, motivates, or reminds of past events’. Musical genres inducing santoṣa rasa were perceived significantly higher in female participants. Based on the findings, a ‘music engagement model for Young Adults’ describing their music behaviour, have been proposed.

Exploring the nature of music engagement and its relation to personality among young adults

This study examined the relationship between music preferences (MP), listening styles (LS), functions of music (FoM), perceived rasa (music) and personality traits (PT – Big Five Factors). A sample of 77 young adults (M = 39; F = 38; M = 22.7 years) completed measures of the above constructs and data were analysed via correlations, one-way ANOVA, post hoc tests, and T-tests. Significant correlations were found between LS and PT; MP and PT; FoM and PT; FoM and emotion; and LS and FoM. Findings indicated stronger preferences for genres namely Romantic songs, Soft songs and Filmy (Sad) songs. Gender difference existed in terms of MP, perceived emotions and LS. Music listening mainly served as a ‘source of pleasure and enjoyment’ and which ‘calms, motivates, or reminds of past events’. Musical genres inducing santoṣa rasa were perceived significantly higher in female participants. Based on the findings, a ‘music engagement model for Young Adults’ describing their music behaviour, have been proposed.

Listening to Rosita: The Business of Tejana Music and Culture, 1930–1955 by Mary Ann Villarreal

Reviewed by: Listening to Rosita: The Business of Tejana Music and Culture, 1930–1955by Mary Ann Villarreal Helena Simonett Listening to Rosita: The Business of Tejana Music and Culture, 1930-1955. By Mary Ann Villarreal. Race and Culture in the American West. (Norman: University of Oklahoma Press, 2015. Pp. xxxvi, 177. $29.95, ISBN 978-0-8061-4852-6.) Listening to Rosita: The Business of Tejana Music and Culture, 1930–1955tells the stories of a small number of Mexican American female singers and entrepreneurs in central South Texas, introducing the reader to women’s pioneering roles in the emerging Spanish-language entertainment industry of the region. The first chapter is dedicated to Rosita Fernández (1918–2006), recognized as “San Antonio’s Rose” for her contribution to the city’s tourist market. Fernández joined her uncles’ vaudeville act Los Tres San Miguel to tour the South Texas tent show circuit at the tender age of nine, starting a six-decade-long singing career. She performed on San Antonio’s WOAI radio station and, in 1949, on the first broadcast on WOAI television. In an era dominated by accordion-based conjuntomusic that appealed foremost to the Texas Mexican working-class audience, Fernández’s favorite repertoire was romantic songs ( canciones románticas) and boleros, accompanied by lush orchestras or mariachis. The second chapter features pioneer accordionist Ventura Alonzo (1904–2000) who, together with her musician husband, opened a dance hall in [End Page 966]Houston in the 1950s that served the local community as a social gathering place. Alonzo not only performed in the house band but also managed the venue’s business, negotiating artist contracts and handling promotions and ticket sales. Similarly, Carmen Marroquin (1921–2010), who formed a duo with her sister Laura in the 1940s, broke into the dance hall business in 1952, joining forces with her husband, Armando Marroquin, a talent scout and record producer. The next three chapters focus on the role of Mexican American women as sole proprietors or as part of family-owned businesses in relation to the social and cultural changes in South Texas from the Great Depression and Mexican repatriation in the 1930s to the years of economic recovery, World War II, and the postwar era. Although Spanish-language music “acts as a cultural connector for all the parts of this book” and the main focus is on female cantantes(singers) as culture makers, unfortunately music is strikingly absent from this book (p. xviii). What English-language songs did Fernández sing? What bands accompanied her? Who were the musicians? How did Alonzo learn the songs her audience requested? How did musical performance shape Texas Mexican cultural identity? The book is full of assertions about music that are not explained; as Mary Ann Villarreal claims, “These cantantes represent the formative expression of la mísica tejana, the process of blending, choosing, and fashioning a style that fit their singing talents and personalities”; cantantescould shift their music style “according to the language of their audience, and to a lesser extent, their audience’s national identity” (pp. 120, 128). Even more perplexing is the author’s assessment of Lydia Mendoza’s “hidden histories” (p. 92). There are two excellent biographies of the famous singer (Yolanda Broyles-González, Lydia Mendoza’s Life in Music/La Historia de Lydia Mendoza: Norteño Tejano Legacies[New York, 2001]; Chris Strachwitz and James Nicolopulos, Lydia Mendoza: A Family Autobiography[Houston, 1993]). Mendoza was recognized beyond her community and honored with the National Heritage Fellowship Award in 1982. In her long-lasting singing career, Mendoza, together with members of her family, left a legacy of over 1,200 commercially recorded songs. The duo Carmen y Laura, Ideal Records’s first star group, cut hundreds of records with supporting musicians ranging from the conjuntosof accordionists Narciso Martínez and Paulino Bernal to Beto Villa and his Tejano Orquesta. Fernández recorded hundreds of songs for labels including RCA, Decca, Brunswick, and Ideal, some of which have been made available in digital form by Arhoolie Records. It is a serious omission that the book does not include a discography of the pioneer female vocalists...

Da «figli di stronza» a «quindicenni sbranati dalla primavera». I "ragazzi di Salò" e la politica italiana

Immediately after the Second World War and the end of the Italian Civil War, Italy was interested by a phenomenon of divided memories. On the one hand there was the official public memory, which denied combatant qualification to soldiers who had fought in the army of the fascist Italian Social Republic (Repubblica sociale italiana, RSI) and condemned their experience; on the other hand there was the neo-fascist memory which inherited the political, cultural and ideological values of RSI soldiers and put all the efforts to legitimize them through their inclusion in public memory. Over the decades, this neo-fascist struggle over memory has had partial success: the negative image of the Italian Social Republic soldiers went weakening and the previously disparagingly labelled repubblichini became the subjects of moving and romantic songs, movies and fictions. Now called ragazzi di (Salo boys), they were integrated in the Italian collective memory and started to be represented as people who made choices in good faith to defend their homeland and honour. Although the attempts to legislatively equate the fascist and anti-fascist (partisans) fighters as combatants have not been successful, the new rhetoric about Salo boys has penetrated deeply into Italian collective memory.

Romantisme Anak Muda dalam Lagu-Lagu Ambon

Abstract: This writing discusses about Ambonese youth romanticism that is mediated through local songs in cassette and VCD. For Ambonese lyouth, Indonesian populer sogs alsa have the same position as Ambonese local songs which are growing and almost always have new groups or singers every year. The most favorite song that Ambonese youth like most is romantic song. The construction of romanticsm presents through the personification of loving their parents, their lover and their homeland which is then extended to wider solidariy such as nationalism and similar religion. The substance of romanticism in the Ambonese songs aso experience changing since the 1999-2003 riots in Ambon. However, the romantic songs could becone means to neutralize the issue of segregation of religion because the love for mother and Ambon as their homeland is belongs to everyone and cannot be defeated by any kind of sentiments.

Oh Blessed Holy Caffeine Tree: Coffee in Popular Music

Oh Blessed Holy Caffeine Tree: Coffee in Popular Music

Género, Deseo y Erotismo: Un Caso de Comparación entre “Clubes de Mujeres” en Buenos Aires y en Río de Janeiro

The research compares two Clubs when men perform strip-tease to a female audience, focusing on gender images and performances. Analysing the boundaries organization among some elements of the erotic-emotional dimensions (emotions, feelings, desires, morality, transgression) in this field, certifies the sociopsychological origin of sexual excitement process and the construction of the erotic consumption pattern of the people entangled in the process. There are more differences than similarities among the performances. The argentinian show brings choreographies that stage affection and intimacy of couples listening to romantic songs, whereas in Brazil sexual jugglings moved by ‘pornofunk` style songs lead to sexual orgy, impersonality and promiscuity. Just alike, heteronormativity, hedonism, ludic feature and comicity. The male domination and the sexual roles hierarchy are preserved by the virility reinforcement and by the active male condition.