Song Sung Research Articles

Abstract 1536: Effect of ascites on tumor response in advanced stage ovarian cancer

Abstract Background: Ascites can create a progressive microenvironment for tumor cells, whereas there is few evidence on the role of ascites on tumor response in ovarian cancer. Thus, we investigated cellular response by ascites in ovarian cancer cell line, and evaluated the effect of ascites on clinical outcomes in patients with advanced-stage ovarian cancer. Methods: Moreover, we collected clinico-pathologic database of 277 patients with stage IIIC-IV ovarian cancer, and investigated factors affecting overall response (OR) and survival. Furthermore, we collected ascites from four patients with stage IIIC-IV serous adenocarcinoma of the ovary, and cell migration, invasiveness and proliferation by adding ascites were evaluated in SKOV-3. Results: OR rates were not different between patients with ascites and those without ascites (77.8% vs. 89.1%; P = 0.094), and no ascites was associated with better progression-free survival with marginal significance (37.4 vs. 27.1 mons; P = 0.056) in spite of no effect of ascites on overall survival. In multivariate analyses, no ascites was a favorable factor for reducing the risk of non-OR with marginal significance (adjusted OR, 0.286; 95% CI, 0.080-1.018; P = 0.053), whereas ascites was not an independent factor affecting survival. Moreover, ascites increased migration and invasiveness of SKOV-3 (Figs. 1A and 1B). Although proliferation of SKOV-3 was decreased for the first 24 h, it increased in time-dependent manner till 72h (Fig. 1C). Conclusions: Ascites may contribute to invasion, migration and proliferation of ovarian cancer cells. Our clinical findings also support that ascites may affect overall response after primary treatment, suggesting the possibility that ascites can act as a tumor microenvironment related with tumor cell survival. Citation Format: Soochi Kim, Anna Kim, Hee Seung Kim, HyeRan Gwak, UnTek Jo, Yong Sang Song. Effect of ascites on tumor response in advanced stage ovarian cancer. [abstract]. In: Proceedings of the 106th Annual Meeting of the American Association for Cancer Research; 2015 Apr 18-22; Philadelphia, PA. Philadelphia (PA): AACR; Cancer Res 2015;75(15 Suppl):Abstract nr 1536. doi:10.1158/1538-7445.AM2015-1536

Ungkapan Bermakna Budaya pada Upacara Adat

This study aims to explain the process of Cuci Negeri Soyacustomary ceremony, to identify the type of language expression and to analyzethe language expression dan cultural meaning in customary ceremony as well asto explain of Soya society`s mindset based on cultural meaning in languageexpression in Soya customary ceremony. This study was conducted in Soyavillage, located in Ambon city which still used tana language. This study usedqualitative descriptive method. The data is collected by using interviewtechnique and analyzed by Miles and Huberman model data analysis, such as datareduction, data display, and data conclusion. The results show that thelanguage expressions found in Cuci Negeri Soya is kapata which delivered by thecustom head and 8 songs sung by the member of customary ceremony. From thoselanguage expression, it was identified 12 language expression containingcultural meaning which categorized to some types of expression. The types ofexpression consist of 1 greeting expression, 2 respect expressions, 4 prayexpressions, 2 advise expressions and information expression. The mindset ofSoya society in language expression has positive values in life in general andhousehold, has a religious nature, helping each other, courtesy, mutual respectand always give priority to the sanctity. Keywords:Language expression, cultural meaning, Customary Ceremony of Cuci Negeri Soya

English

A Breton lai or lay is a lyrical, narrative poem written in couplets and refrains and is based on Greek, Arabic and Persian poetic structures and themes. Lais were mainly composed in France, England, the Pays-Bas and Germany during the 12th, 13th and 14th centuries. The Breton lai was similar in purpose to Skolion σκIŒλιον or Roman Fescennine which were songs sung by invited guests at banquets. Breton lai evoked the ancient Persian ghazal in a “tribute” culture with distinctive Breton irony. The Breton Lai’s enormous contribution to the linguistic and performance cultures of Europe impacted language development for centuries with contributions from the houses of Anjou, Saladin, Hohenstaufen and their descendants. Key words: Divine office, Antiphons Greek and Persian poetic traditions, linguistic cultures

Alcune considerazioni sul pantheon slavo nell’opera di Aleksandr Radiščev<br>Nekotorye soodraženija o slavjanskom panteone v tvorčestve Aleksandra Radiščeva</br>

The article is dedicated to the barely researched “Songs Sung in Competitions and Dedicated to Ancient Slavic Deities” by Aleksandr Radiscev. It is centered on a reconstruction of the old Slavic pantheon as suggested by the great Russian writer, on the literary and ideological presumptions of this reconstruction, and on a complex syncretic relationship between Radiscev’s “mythology” and other mythological systems.

Klâsik Türk Şiirinde Kadın Söyleminin İzinde: Şeref Hanım Dîvânı’nda Ninniler

Cradle-songs that are known as a kind of folk song sung by mothers melodiously to silence and make sleep their babies are the most valuable products of the woman literature as the creators are women. Woman, who expresses wishes and dreams for the baby in the lap or in the cradle in a form of her most sincere emotions attached by motherhood to her, would find the opportunity in this way to share her distresses and troubles with her baby. Cradle songs that are considered as included among products of anonymous folk literature and sorted accordingly have been sung gently by the female poets particularly in the classical Turkish Literature and been written up by containing wishes and advices in general. In this study, the projection of woman discourse under guidance of cradle songs sung by Seref Hanim will be identified and evaluated in the classical Turkish Literature where the love is expressed with pre-determined stereotype and poetic themes and where a male-mouth discourse is dominate.

Involvement of the left insula in the ecological validity of the human voice.

A subtle difference between a real human and an artificial object that resembles a human evokes an impression of a large qualitative difference between them. This suggests the existence of a neural mechanism that processes the sense of humanness. To examine the presence of such a mechanism, we compared the behavioral and brain responses of participants who listened to human and artificial singing voices created from vocal fragments of a real human voice. The behavioral experiment showed that the song sung by human voices more often elicited positive feelings and feelings of humanness than the same song sung by artificial voices, although the lyrics, melody, and rhythm were identical. Functional magnetic resonance imaging revealed significantly higher activation in the left posterior insula in response to human voices than in response to artificial voices. Insular activation was not merely evoked by differences in acoustic features between the voices. Therefore, these results suggest that the left insula participates in the neural processing of the ecological quality of the human voice.

Tuning Features of Chinese Folk Song Singing: A Case Study of Hua'er Music

The learning and teaching of different singing styles, such as operatic and Chinese folk singing, was often found to be very challenging in professional music education because of the complexity of varied musical properties and vocalizations. By studying the acoustical and musical parameters of the singing voice, this study identified distinctive tuning characteristics of a particular folk music in China-Hua'er music-to inform the ineffective folk singing practices, which were hampered by the neglect of inherent tuning issues in music. Thirteen unaccompanied folk song examples from four folk singers were digitally audio recorded in a sound studio. Using an analyzing toolkit consisting of Praat, PeakFit, and MS Excel, the fundamental frequencies (F0) of these song examples were extracted into sets of "anchor pitches" mostly used, which were further divided into 253 F0 clusters. The interval structures of anchor pitches within each song were analyzed and then compared across 13 examples providing parameters that indicate the tuning preference of this particular singing style. The data analyses demonstrated that all singers used a tuning pattern consisting of five major anchor pitches suggesting a nonequal-tempered bias in singing. This partly verified the pentatonic scale proposed in previous empirical research but also argued a potential misunderstanding of the studied folk music scale that failed to take intrinsic tuning issues into consideration. This study suggests that, in professional music training, any tuning strategy should be considered in terms of the reference pitch and likely tuning systems. Any accompanying instruments would need to be tuned to match the underlying tuning bias.

Le Christ selon l’Afrique par Calixthe Beyala

Reviews 187 la matière intéressante et capter l’attention des lecteurs. Mis en confiance, ses interlocuteurs s’ouvrent à elle parce qu’ils sentent qu’elle saura exprimer leurs sentiments et que, somme toute, il reste quelque espoir! University of Wisconsin, Eau Claire Dominique S. Thévenin Beyala, Calixthe. Le Christ selon l’Afrique. Paris: Albin Michel, 2014. ISBN 978-2226 -25601-0. Pp. 265. 19,50 a. Not quite parable or allegory, this colorful story presents Douala, and particularly its slums, through the eyes of Boréale, an intelligent and rebellious young woman who has a secondary education but not the test results required for an office job. Widespread government corruption in Cameroon lets the politicians and functionaries line their pockets and keeps the poor in slums like Kassalafaim, where Boréale lives. How can Africa be saved from impending economic and social disaster? Doctaire,a physician, argues on a street corner for science, but the man Boréale calls Homotype disputes with him, claiming that all knowledge and civilization come from Africa. Homotype was Boréale’s lover until she became disgusted by his promiscuity, but his masculine aura and his soulful singing of popular songs still attract her. Boréale’s mother belongs to the Catholic church, whose most prominent local figure is the “prophète” Paul, many of whose followers are awaiting the end of the world, while he practices rigged faith healing, demands tithing from the faithful as “le prix du salut” (21), and takes sexual advantage of his followers. Given the atmosphere—“l’Afrique cherchait ses origines à travers une spiritualité insolite” (203)—it is no wonder that Boréale is a mass of contradictions. She is wittily skeptical about nearly everything, but she also wants to be rich and to dress stylishly. To do so, she just needs to bear a child on behalf of her mother’s sterile sister Dorota, with the sister’s wealthy husband as its father. Boréale’s impoverished extended family thinks this is a wonderful idea: everyone will be able to feast on the uncle’s bounty. The Christ of the book’s title enters into events not only through the phony prophet, who proclaims “la puissance du Christ!” (197), but by way of a white man who claims his name is “Christian, Christ pour les amis” (141) and, later, through the baby of dubious parentage which Boréale finally produces and whom Dorota names Christ. The book’s characters, all of whom are painted in broad strokes, also include Boréale’s white expatriate employer, two other household employees, a brothel keeper, and the mairesse of the elegant Maképé quarter. Boréale is the only complex figure until, near the end, her mother and Homotype seem to change, though maybe it is Boréale who is finally seeing others in a more nuanced way. Just as Cameroon-born Beyala herself is both a novelist and a political activist, this book is part novel and part political propaganda, its characters and events serving to condemn corruption and inequality in Cameroon and to point to hope for its future. Boréale thinks that her baby may bring about“un monde plus juste”(259)—“Peut-être s’instruirait-il sur le secret des coups d’État réussis et renverserait-il les régimes corrompus” (259–60)—becoming Africa’s longed-for savior. College of San Mateo (CA) Susan Petit Biancarelli, Marc. Orphelins de Dieu. Arles: Actes Sud, 2014. ISBN 978-2-33003593 -8. Pp. 240. 20 a. Vénérande et son frère Petit Charles vivent reclus leur quotidien de damnés depuis que le chemin du jeune homme a croisé celui des trois frères Santa Lucia et de leur acolyte Le Long. Ce jour-là, les quatre pillards, Cavaliers de l’Apocalypse, ne se sont pas contentés de voler quelques brebis à Petit Charles mais l’ont également défiguré après lui avoir coupé la langue. Vénérande s’occupe depuis de son frère, s’abîmant dans la folie qui a déjà emporté Petit Charles tout en s’accrochant au dernier sentiment qui la relie à ce monde de violence...

Song Texts or Sung Texts in Trecento Italy

Previous musical studies of Trecento songs have concentrated on those manuscripts that contain the songs with musical notation, luxury sources like the Squarcialupi Codex and other parchment codice...

The Boat

The Boat Intizar Husain Translated by Alok Bhalla (bio) and Vishwamitter Adil (bio) 1 It was still raining outside. Inside, it was warm and humid. Exasperated by the oppressive humidity, one of them opened the window for a moment and then shut it immediately. “Has the rain decreased?” “No, it is still raining heavily.” “Is this the Day of Judgement?” “Allah! The rain outside is better than the hell in here.” “There isn’t much to choose between the rain outside and the oppressive heat in here.” “Where can we go? Everything is underwater.” “Why is it still raining?” “Because we are still alive.” “How many of us are here? We can be counted on our fingertips.” “There are also the animals.” “Perhaps that’s why it’s so oppressive in here. How difficult it is to breathe when one is shut in with animals!” “Yes. And who knows how long we’ll have to stay imprisoned in this place. There is no sign of the rain stopping. It’s been raining like this for days.” “When did it start raining?” “When?” “Yes. Can anyone remember when it started raining? How many days ago?” They tried to count the number of days. But no one could remember when it had begun to rain. Neither the day, nor the time. “That means we don’t know how long we have been on this boat or when we began our journey!” They were bewildered. How long had they been travelling? How many days, how many years, how many generations? That is what always happens when it rains or when one is on a long journey. When it rains continuously, it seems as if it has been raining and raining for years. It is the same with long journeys. If someone travels without a break, he feels as if he has been doing so eternally, from one birth to the next. “We left home the day it started raining. Does anyone remember?” Home! [End Page 95] That was the first time anyone had uttered the word home. They were startled. “We had homes once!” They recalled their homes as if they had left them behind just recently. “Alas, if only she had gotten into the boat with me! Who knows where she is now and what waters surround her?” “Who is she?” “Oh, she’s the one who collided into me as she was descending the stairs.” And the whole scene flashed before him: that woman whose eyes were like those of a deer and whose breasts were like ripe and luscious fruit. When he held her in his arms as she rushed down the stairs, he felt as if he were holding a trembling dove. A moment later, she freed herself and ran with long strides like a wild antelope. Then, suddenly, she stopped and returned. The next moment, when the sun was still burning in the sky, she sank beneath the weight of his body and lay in his embrace under the shadow of the palm tree behind the hill. Steps, courtyards, meandering paths, hills, tall trees full of fruit and birds. How much he recalled! But why remember houses that had crumbled in the rain and had been washed away by the flood? None of them had accepted the fact that the waters had risen above the mountain peaks and had not spared their homes. “How can we forget our homes? We spent our days there, sang songs for new brides there, lamented the dead there.” Their eyes brimmed with tears. They remembered their homes and wept. Slowly, without hope and without doubt, they accepted the fact that their homes had been destroyed. “O dear friends, those houses were destined to be destroyed.” “How?” 2 Then Gilgamesh fell on his knees and spoke. “O fellow travellers, if you have the clarity of vision, then consider my fate. Behold how many tumultuous and wild seas I had to cross to reach that land where Utnapishtim was resting. I prayed to him thus: ‘O Utnapishtim, I had heard that those who seek, find blessing; that at the end of a journey, there is salvation. But I have searched for a long time...

Interaction of relative pitch memory and latent absolute pitch for songs in an ordered list.

There are two components to absolute pitch (AP): Absolute pitch memory, the ability to produce or aurally recognize a familiar tone without an external reference; and absolute pitch labeling, the ability to identify the tone with a specific label (Levitin, 1994). The incidence of AP is rare, with a rate of occurrence of about 0.01% for the general population (Profita & Bidder, 1988; Takeuchi & Hulse, 1993) and about 10% to 15% for professional musicians (Baharloo, Johnston, Service, Gitschier, & Freimer, 1998). However, AP is not all-or-nothing, as many people possess some characteristics of AP (Levitin & Rogers, 2005). For example, not all who can aurally recognize a familiar tone can also produce the tone, although these abilities tend to be highly correlated (Dohn, Garza-Villarreal, Ribe, Wallentin, & Vuust, 2014; Levitin, 1999; Takeuchi & Hulse, 1993). One may possess AP for a single tone, such as the orchestral tuning pitch A (Bachem, 1937; Levitin, 1999; Parncutt & Levitin, 2001), a dial tone (Smith & Schmuckler, 2008), or a short-term reference pitch for unaccompanied solo singing (Mauch, Frieler, & Dixon, 2014). It is also possible to produce or aurally recognize the pitch level of familiar songs without reference to specific labels. This type of absolute pitch memory has been identified by different names, including pieceAP, residual AP, implicit AP, and latent AP (Deutsch, 2013; Parncutt & Levitin, 2001; Takeuchi & Hulse, 1993; Terhardt & Seewann, 1983; Terhardt & Ward, 1982).Studies of latent AP show that it is more common than AP among the general population. In a study by Halpern (1989),22 undergraduate students were recorded singing familiar folk songs in sessions 48 hr apart. The pitch levels of the songs were consistent among multiple performances, differing in pitch by an average of 1.28 semitones. Bergeson and Trehub (2002) recorded 15 mothers singing folk songs and lullabies to their infants in sessions approximately 1 week apart. The performances, from session to session, differed in pitch by an average of 0.82 semitones. Levitin (1994) noted that folk songs do not occur in any one standard key and could be encountered in a number of different keys, which may lead to less accuracy in production. For his study, Levitin asked 46 undergraduate and graduate students to choose a CD that contained a familiar song. By using commercial recordings on CD, the assumption was that there was one correct pitch level for the song, which would give an objective standard for judging pitch memory. In two separate trials, students were instructed to hold the CD while imagining a song, and then to sing the song. On average, the performances differed in pitch from the original recordings by ^1 semitone. Also, 40% of the participants sang at least one song at the correct pitch, and 12% sang both songs at the correct pitch. Frieler et al. (2013) replicated Levitin's study with 277 participants and found a similar, albeit smaller, effect: 25% of the participants sang at least one song at the correct pitch, and 4% sang both songs at the correct pitch, with a considerable difference in results among the six participating labs. The results of both studies were above chance levels, which were 17% for singing at least one song at the correct pitch, and 0.7% for singing both songs at the correct pitch. Frieler et al. noted that the smaller effect in their study may have been caused by the availability of popular songs on the Internet; in particular, pitch levels for the same recording may differ on streaming Web sites, resulting in multiple correct pitch levels (also noted in Jakubowski & Mullensiefen, 2013; Plazak, 2012).Listening-based studies of latent AP have found that persons who do not possess AP can discern whether a familiar song is in its original key or transposed, even if the level of transposition is only 1 semitone. In Schellenberg and Trehub's (2003) study, 48 college students listened to 5-s instrumental excerpts of theme songs from popular TV shows. …

"The Song Sung in a Strange Land": An Interview with Nathaniel Mackey.

"The Song Sung in a Strange Land": An Interview with Nathaniel Mackey.

Abstract 394: TET1, which act as an tumor suppressor gene, is suppressed by DNA hypermethylation in gastric cancer

Abstract 5-hydromethylcytosine (5hmC) is a hydroxmethylated form of DNA cytosine catalyzed by TET proteins. Recently, it was reported that aberrant regulation of 5hmC is associated with many cancers such as breast cancer, glioma, leukemia and melanoma. In this study, we examined the status of 5hmC and the role of TET1, which converts 5mC to 5hmC, in gastric cancer. Dot blot and ELISA assay results revealed global loss of 5hmC level in gastric cancer, and that decreased TET1 expression was associated with decreased 5hmC levels. Importantly, in gastric cancer patients, TET1-low group had advanced metastasis and poor survival compared with TET1-high group. To understand the mechanisms of TET1 suppression in gastric cancer, we performed pyrosequencing in 80 paired normal and tumors samples from gastric cancer patients, and found that the promoter region of TET1 was hypermethylated in tumors than adjacent normal tissues. Treating AGS cells with 5-Aza-2′deoxycytidine (Aza-dC) restored the expression of TET1. Transient transfection of in vitro transcribed TET1 mRNA into AGS cells significantly reduced the growth of AGS cells. In summary, our results showed that DNA methylation is responsible for the suppression of TET1 which has a tumor suppressor role in gastric cancer Citation Format: Jong-Lyul Park, Oh-Hyung Kwon, Kyu Sang Song, Seon-Young Kim, Yong Sung Kim. TET1, which act as an tumor suppressor gene, is suppressed by DNA hypermethylation in gastric cancer. [abstract]. In: Proceedings of the 105th Annual Meeting of the American Association for Cancer Research; 2014 Apr 5-9; San Diego, CA. Philadelphia (PA): AACR; Cancer Res 2014;74(19 Suppl):Abstract nr 394. doi:10.1158/1538-7445.AM2014-394

To Wound, to Tear, to Pull to Pieces

To Wound, to Tear, to Pull to Pieces Greg Schutz (bio) This begins years ago, when I was young and recovering from a case of heartbreak. I met a friend for lunch in the small Wisconsin town where we both were living at the time. We talked for a while, and when we parted, I felt better. I can’t say exactly why. This is a ghost story. A case of heartbreak. That’s what I call it now. As if the only thing to do anymore is laugh—a little jaundiced, a little prideful. I abandoned graduate school to live for six months with an older man, a professor of linguistics named Jeremy Kite, and when, one might say, my shine wore off, he asked me to leave, and I left. I fled homeward, to my parents’ house in the town where I’d grown up, to submit to their tender, suffocating attentions and ready my return to the life I’d been leading before. Which I eventually did. That’s all Jeremy Kite turned out to be: a bump in the road. Some clichés save us more than time. It’s also too simple to say Joanna and I were friends. We’d known each another in high school—I played volleyball and field hockey; Joanna cheered. We knew many of the same lazy, athletic, breezily handsome, utterly thoughtless boys—but I don’t believe we ever had a conversation. I remember admiring her, in a way. Joanna was tiny and plump, redheaded and pretty, her freckled knees flashing below the hem of her cheer skirt on game days. Plucky was a word I may have used to describe her. An overachiever. Of course I believed I was more the type of girl the boys we knew were really interested in. But it was Joanna who ended up marrying one of them. Away at college in Madison, I found myself endowed with new freedoms, new powers. I’m not just referring to sex, though I’m referring to that as well. I didn’t burn any bras, but I did replace a few of the full, pearlescent, matronly designs my mother [End Page 44] favored with bright, filmy things that crumpled as easily as afterthoughts. I did see draft cards burned, and I sang songs for racial equality and an end to the war, and I conducted a series of what I called liaisons with young men whose gauzy ideals masqueraded—sometimes charmingly—as real ideas. I had a job shelving books at the university library, where I spent a long autumn leaning on my cart in the stacks, living through War and Peace. (Years later, reading Adrienne Rich, I would suffer a pang of recognition: “you watched Natasha grow into a neutered thing.” In Natasha, I thought I saw my mother, who still existed as a mischievous girl, dark and grinning as a wood sprite, in old photographs.) In a Russian literature class, I read Turgenev’s “Bezhin Lea,” with its ring of firelight, its haunting cries echoing over the river. I appreciated these things, I decided, in a way my classmates did not. I developed a vertiginous sense of my own possibilities. Meanwhile there was Joanna, back in my old hometown, living my shadow life. At eighteen she’d married Kyle Bohannon, a lanky, sweet-faced varsity hurdler who’d kissed me once, suddenly, at a party after a football game. Like that kiss, the wedding arrived without warning, seemingly without prelude or courtship, without even a period of engagement. When I heard about it, I remembered the glow from his flushed face and the sour whiff of his breath, his lips pressed together as if to hum into my mouth. Their first child, a boy, arrived that winter—a scandalously brief interval. “There’s a story there, you know,” my mother said. She called every Sunday, the dormitory pay phone ringing, one girl or another knocking on my door to let me know. This mortified me, as though having a mother were my unique disfigurement. She would be standing in the kitchen, I knew, looped in the cord. I hated her swooping, loaded tone...

Tutor choice and imitation accuracy during song learning in a wild population of the Puget Sound white-crowned sparrow

Songbirds learn to sing by modeling their songs on the songs of other males through a process of social learning. Models of social learning predict that animals should be selective in what and when they learn. In this study, we asked whether young males in a wild population of the Puget Sound white-crowned sparrow, Zonotrichia leucophrys pugetensis, were selective in their choice of tutor models and what factors influenced how accurately they imitated tutors’ songs. We first examined two strategies for tutor choice: whether pupils have a conformity bias and/or a preference for high-quality tutors. In keeping with a conformity bias, tutors that sang song types that were relatively common within a radius of about 500 m of their territory were more likely to be imitated than were tutors that sang rarer song types. Most potential tutors were not imitated by pupils. Aspects of tutor quality, such as age, pairing status, and survival to the next year had no effect on whether a tutor’s song was imitated. Secondly, we tested whether pupil repertoire size, pupil quality, and local abundance of tutor models affected the accuracy of song imitations. We found a trade-off between repertoire size and tutor imitation accuracy with males that sang two or more song types developing significantly poorer imitations than males that sang one type. We discuss possible functions of a conformity learning strategy and factors that could produce a trade-off between imitation accuracy and repertoire size.

Africa in stereo: modernism, music, and pan-African solidarity

Table of Contents One: Stereomodernism And Amplifying The Black Atlantic Two: Sight Reading: Early Black South African Transcriptions of Freedom Three: Negritude Musicology: Poetry, Performance and Statecraft in Senegal Four: What Women Want: Selling Hi-Fi in Consumer Magazines and Film Five: Soul to Soul: Echo-locating Histories of Slavery and Freedom from Ghana Six: Pirate's Choice: Hacking into (Post-)Pan-African Futures Epilogue: Singing Songs Bibliography Notes

충청남도 남동부에서 나타나는 논매기소리의 분포와 전파에 관한 연구 -지형요소를 중심으로-

충청남도 남동부에서 나타나는 논매기소리의 분포와 전파에 관한 연구 -지형요소를 중심으로-

“The Best Notes Made the Most Votes”: W. C. Handy, E. H. Crump, and Black Music as Politics

[ILLUSTRATION OMITTED] In 1909, three white politicians--Edward H. Crump, Joseph J. Williams, and Walter W. Talbert--vied to become the next mayor of Memphis. Each of the candidates utilized traditional campaign tactics to win the office, such as speeches, rallies, advertisements, and posters. In a common move among southern office-seekers, they also employed black musicians to campaign on their behalf. As African American musician and bandleader William Christopher Handy explained, [I]n Memphis as in Clarksdale it was known to politicians that the best notes made the most votes, and there came a time when we were called upon to do our bit for good government. The 1909 Memphis mayoral election provides a particularly compelling example of a common relationship between white politicians and black musicians during the Jim Crow era. It advanced the careers of Handy, a musician who became known for compositions including Street Blues, and Crump, a Democrat who dominated Memphis politics from 1909 until 1948. According to Handy, Crump hired his band because Beale Street was expected to cast a lot of votes, and it was squarely up to us to get them. By employing black musicians, Crump and other white southern politicians hoped to attract key votes, but black musicians like Handy also seized the opportunity for their own purposes. Performing on behalf of a campaign provided economic opportunity and access to white audiences. In addition, it allowed black bands to manipulate white southerners' stereotypes of African Americans, and thus, to resist oppression. Handy used his music to influence Memphis politics and to help a white politician gain power, but he also seized the opportunity to gain power for himself and his race. To play their respective roles, both Crump and Handy relied on a long tradition of using music for political purposes, which had its roots in slavery. (1) A LONG TRADITION Early relationships between black and white Americans and black music, which developed during slavery and changed after emancipation, helped shape the ways in which each group later used black music for political purposes. In the first contact between Europeans and Africans, travelers remarked that African people possessed a natural musical ability and made better music than any other race. Thomas Jefferson expanded on this idea in later years, writing, [In] music they are more generally gifted than the whites with accurate ears for tune and His statement stood in sharp contrast to other characterizations he put forth, including never yet could I find that a black had uttered a thought above the level of plain narration. Perhaps that is why he questioned the very talent he praised, asking, [whether] they will be equal to the composition of a more extensive run of melody, or of complicated harmony, is yet to be proved. In contrast to European styles of music, African music, from the white southern perspective, seemed childlike and primitive. By observing African slaves playing music, many white Americans assumed that slaves enjoyed their lives and their status and characterized the African people as fun loving and joyful. (2) For the most part, white slaveholders encouraged enslaved people to play and sing at work, and many African Americans embraced the opportunity. They sang songs, usually in call-and-response form, to set the pace of work, to lessen the monotony of a long day, and to lift the spirits of workers. Enslaved people used the music to make their work more endurable while also reinvigorating their African culture in the New World. (3) Often at the encouragement of their masters, African Americans also played music and sang songs on their own time, specifically in the evenings and on Sundays, as well as at festivals, funerals, and religious ceremonies. During such times, African musicians used drums to set the rhythm for a variety of dances, such as patting juba, which consisted of slapping hands to feet and shoulders while keeping time. …

Vocal behaviour of the island-endemic Cozumel Wren (Troglodytes aedon beani): song structure, repertoires, and song sharing

Documenting the diversity of vocal behaviour across different avian taxa is key to understanding the ecology and evolution of complex behaviours. Unique to Cozumel Island in the Mexican Caribbean Sea, the Cozumel Wren (Troglodytes aedon beani) provides an opportunity to investigate how isolation influences complex cultural traits. Most aspects of the biology, natural history, and taxonomy of Cozumel Wrens are unknown. In an attempt to better understand the Cozumel Wren’s biology, we provide the first description of the songs and the vocal behaviour of this island-endemic bird. Based on more than 700 h of recordings, including more than 36,000 songs, we describe the fine structural characteristics of male Cozumel Wrens songs, and explore patterns of repertoire organization and song sharing. Cozumel Wrens sing songs composed of highly variable syllables, with prominent trills at the end of each song. Each bird has a limited repertoire of songs, which they create by recombining a restricted number of syllable and trill types. They repeat a song type several times before switching to a different one, with some variation in the number of times they repeat specific elements. Cozumel Wrens share more song types with neighbours than distant individuals. Syllable sharing, however, is equivalent between neighbours and distant individuals. Our results provide important data for future research on the ecology, evolution, and behaviour of this island-endemic songbird, and for helping to clarify the taxonomic status of Cozumel Wrens.

A COMIC SCENE WITH A STOIC MESSAGE: TERENCE'S EUNUCHUS IN PERSIUS SATIRE 5.161-175

Introduction The Greekparaclausithyron is the song sung by the lover at his mistress's door as a part of the revel or komos which followed a symposium and after he had been refused admission to her house. It is usually a song of disappointment and sorrow, based on a more or less stereotyped incident: the lover's passage through the streets on his way to the girl's house after the symposium, her refusal to admit him into the house, and his lament in which he may combine a plea that the girl will relent, a warning of the lonely days to come when she will be too old for love, and a picture of his own sufferings. In the end he may hang his garland on the door or scribble some scraps of verse on the door. Then he lies down in the doorway to remain there until morning.