Song Elements Research Articles

Note similarities affect syntactic stability in zebra finches.

The acquisition of an acoustic template is a fundamental component of vocal imitation learning, which is used to refine innate vocalizations and develop a species-specific song. In the absence of a model, birds fail to develop species typical songs. In zebra finches (Taeniopygia guttata), tutored birds produce songs with a stereotyped sequence of distinct acoustic elements, or notes, which form the song motif. Songs of untutored individuals feature atypical acoustic and temporal structure. Here we studied songs and associated respiratory patterns of tutored and untutored male zebra finches to investigate whether similar acoustic notes influence the sequence of song elements. A subgroup of animals developed songs with multiple acoustically similar notes that are produced with alike respiratory motor gestures. These birds also showed increased syntactic variability in their adult motif. Sequence variability tended to occur near song elements which showed high similarity in acoustic structure and underlying respiratory motor gestures. The duration and depth of the inspirations preceding the syllables where syntactic variation occurred did not allow prediction of the following sequence of notes, suggesting that the varying duration and air requirement of the following expiratory pulse is not predictively encoded in the motor program. This study provides a novel method for calculation of motor/acoustic similarity, and the results of this study suggest that the note is a fundamental acoustic unit in the organization of the motif and could play a role in the neural code for song syntax.

SOUND IMAGES IN POETICS BY O. F. BERGHOLZ

The sensory poetics of O. F. Bergholz’s artistic texts has not yet been specifically studied. Since childhood, the poetess was immersed in the folk song element and had a keen perception of the auditory sphere; for her, the “memory of sound” was the most important associative link in building an artistic picture of the world. When creating the image of the Valdai arc in the autobiographical novel “Day Stars,” it is the sound substance that has a function of meaning generation. The author’s distinct sound image of the Orthodox prayer read by nannie Avdotya in the “Day Stars,” is considered in the article in comparison with the icon of St. Seraphim of Sarov, described by Bergholz. The sound metamorphosis of the prayer functions as a conductor of the sacred meaning of the iconographic ecphrasis in the text of the story. Leningrad is the most representative image in Bergholz’s work; the city’s acoustic space is modeled by the author based on the historical context. The heightened perception of the sonosphere of the post-revolutionary city contributes to the creation of unusual sound metaphors in the “Day Stars” (talking, screaming walls; crying stone). In the Leningrad Symphony screenplay, the sound of a metronome, which arose on the eve of the blockade ordeal, is associated with Shostakovich’s Seventh (Leningrad) Symphony. In blockade-related lyrics, the visual (color) characteristics of images are replaced by auditory ones; the sounds of war — whistling, screeching, clanking, grinding, crunching — carry a negative connotation of destruction and death, and the creaking of the runners of blockade sleds is a sign-marker of death. The semantics of silence are ambivalent; at the same time, silence and soundlessness are semanticized in different ways: soundlessness in an existential sense is juxtaposed to sound as the death of life; the beginning of “universal death” occurs when sound “died” in space; the sound/ringing/noise returned to the world is isomorphic to life.

Involvement of State Officials As Cast of Characters in Folk Theater Ketoprak RRI Yogyakarta

Ketoprak is a traditional Javanese performing art that incorporates elements of karawitan, dance, comedy, song, acting, and artistic arrangements. Traditional art is divided into two types, such as folk art and classical art, or palace art. Ketoprak is a folk art that has its origins among the people who live outside the palace. As a folk art, ketoprak is also used to communicate to the authorities issues that the people are concerned about. Criticizing through the performing arts is a powerful way to express criticism without taking offense. Ketoprak is usually performed by a group of artists on stage. However, in recent years, ketoprak performances have been performed not only by community performer groups but also by state officials taking the cast of characters on stage. The involvement of state officials at all levels, from regional to ministerial, as well as guest stars and main characters. Including those carried out under the RRI Yogyakarta ketoprak program. The descriptive qualitative research method was used to figure out how the implementation of the ketoprak program at RRI can preserve ketoprak's dignity as a folk theater, despite the fact that it is represented by state officials, by conducting interviews with program producers and respected ketoprak performers from Yogyakarta. The study's findings show that in its development, ketoprak was divided into two forms, conventional ketoprak which was standard with rules or pakem that were still preserved by RRI Yogyakarta and ketoprak garapan which is open to be interpreted in various ways and is free to be casted by anyone, including officials who are performed in the live version of the RRI Ketoprak Program.

Translocated wild birds are predisposed to learn songs of their ancestral population

Population differences in socially learned mating signals like oscine birdsong are particularly vulnerable to breakdown through dispersal.1 Despite this challenge, geographic variation in learned signals is ubiquitous.2 A proposed explanation for this pattern is that birds express predispositions to selectively learn and produce population-typical songs.3,4,5 While experimental studies on lab-reared birds have shown the existence of within-species learning predispositions,6,7,8,9,10 it remains unclear whether and how learning predispositions influence song acquisition in the wild. Here, we investigated innate song learning predispositions in wild pied flycatchers (Ficedula hypoleuca) by measuring the songs of individuals translocated as eggs from a Dutch population to a breeding population in Sweden. We compared the songs of the adult males hatched from these translocated eggs with those from the ancestral and receiving populations. Songs of translocated males closely resemble the local Swedish songs to which they were exposed during development, supporting the importance of social learning. However, translocated males selectively learned those local Swedish song elements that sound the most "Dutch-like." As a result, their songs are significantly shifted toward those of the ancestral Dutch population. This suggests that innate learning predispositions track ongoing song evolution in wild populations of pied flycatchers. We propose that as songs continue to diverge over time, this coevolutionary relationship between song and learning predispositions may contribute to the emergence of incipient pre-mating barriers.

Interpreting the Nasib Kulo Song of Kemas Anwar Beck in Bebaso (Semiotics Study)

A song is composed of a series of tones that form a melody and support musical elements. It uses the tones of a human voice to beautifully and meaningfully express thoughts or feelings The combination of a song with a lively poem (text) can stir up a lot of emotions in the audience and have a major effect on their soul. This study aims to explore the emotions evoked by Kemas Anwar Beck’s lyrics for his song Nasib Kulo and how his experiences show up in using language and wordplay to give his lyrics a unique and appealing quality. The study focuses on analyzing the content of the song lyrics and interpreting their meaning in a qualitative descriptive manner. A semiotic theory is used to decipher the meaning of the lyrics that were penned in polite Palembang Alus language. Moreover, a musicology approach is also used to analyze the musical form. The results show that the song Nasib Kulo uses two types of symbols, namely, verbal meaning in the form of poetry or lyrics and non-verbal meaning in the form of song elements, that is, chord progression, melody, tempo, and dynamics. As a result of the creativity of the artist, the mindset of life conception and lifestyle are reflected in his artwork. In conclusion, the song Nasib Kulo that is written in Palembang Alus language is very influential for individuals and communities. Keywords: interpretation, Nasib Kulo song, semiotics, artists, Palembang Alus

Lesions in a songbird vocal circuit increase variability in song syntax.

Complex skills like speech and dance are composed of ordered sequences of simpler elements, but the neuronal basis for the syntactic ordering of actions is poorly understood. Birdsong is a learned vocal behavior composed of syntactically ordered syllables, controlled in part by the songbird premotor nucleus HVC (proper name). Here, we test whether one of HVC's recurrent inputs, mMAN (medial magnocellular nucleus of the anterior nidopallium), contributes to sequencing in adult male Bengalese finches (Lonchura striata domestica). Bengalese finch song includes several patterns: (1) chunks, comprising stereotyped syllable sequences; (2) branch points, where a given syllable can be followed probabilistically by multiple syllables; and (3) repeat phrases, where individual syllables are repeated variable numbers of times. We found that following bilateral lesions of mMAN, acoustic structure of syllables remained largely intact, but sequencing became more variable, as evidenced by 'breaks' in previously stereotyped chunks, increased uncertainty at branch points, and increased variability in repeat numbers. Our results show that mMAN contributes to the variable sequencing of vocal elements in Bengalese finch song and demonstrate the influence of recurrent projections to HVC. Furthermore, they highlight the utility of species with complex syntax in investigating neuronal control of ordered sequences.

Lesions in a songbird vocal circuit increase variability in song syntax

Complex skills like speech and dance are composed of ordered sequences of simpler elements, but the neuronal basis for the syntactic ordering of actions is poorly understood. Birdsong is a learned vocal behavior composed of syntactically ordered syllables, controlled in part by the songbird premotor nucleus HVC (proper name). Here, we test whether one of HVC’s recurrent inputs, mMAN (medial magnocellular nucleus of the anterior nidopallium), contributes to sequencing in adult male Bengalese finches (Lonchura striata domestica). Bengalese finch song includes several patterns: (1) chunks, comprising stereotyped syllable sequences; (2) branch points, where a given syllable can be followed probabilistically by multiple syllables; and (3) repeat phrases, where individual syllables are repeated variable numbers of times. We found that following bilateral lesions of mMAN, acoustic structure of syllables remained largely intact, but sequencing became more variable, as evidenced by ‘breaks’ in previously stereotyped chunks, increased uncertainty at branch points, and increased variability in repeat numbers. Our results show that mMAN contributes to the variable sequencing of vocal elements in Bengalese finch song and demonstrate the influence of recurrent projections to HVC. Furthermore, they highlight the utility of species with complex syntax in investigating neuronal control of ordered sequences.

The Contemporary Shamanic Healing: A Case Study of the Daur Shamanic River Spirit lʊs Ritual

In traditional shamanism, the sacred mission and responsibility of a shaman is to provide healing and salvation for individuals. Today, with continuous advancements in science, technology, and medical expertise, the content and methods of shamanic healing are quietly evolving, alongside the upholding and preservation of traditional beliefs. The case study of the Daur shamanic lʊs (river spirit) ritual in this paper discusses the concepts of actual disease and virtual disease in contemporary Daur shamanism. By briefly describing the key processes of this ceremony, including the involvement of shaman spirits and the main elements of divine songs, this paper analyzes the characteristics and functions of the modern-day Daur shaman river spirit ceremony. During the ritual dedicated to lʊs, Daur shamans perform symbolic ceremonies while receiving oracles from their spiritual guides. The ceremony itself incorporates various unique healing techniques such as dʊməl, tærmit, xʊræ- xʊræ, arʃan, altəŋ sʊlʊ; kʊtʊr bʊjin, taboo, etc. These distinctive methods aim to achieve preventive healing as well as realistic healing on both the individual and collective levels. In summary, the lʊs ritual itself serves as a transformative process that encompasses diverse forms of healing through its ceremonial practices.

Symbol of Communication between Worship Leader and Music Priest in Maintaining Harmonization of Worship Music at GBI Lembang Bandung

Music has an important role in Christian worship. Harmonious music is solemnity if the Worship leader and musician church can carry out their duties properly. Worship leader and musician communicate using symbols when leading worship. This research aims to determine how the meaning of the communication symbols of church music groups in maintaining the harmonization of worship music. This research uses qualitative method with a symbolic interaction study approach. Data was collected through observation, interviews and documentation. The informant determination technique used is purposive sampling.. The results of the study found 2 parts of the symbol. Namely song map and keytone. The song map symbol is a part of a song element that is used when the music is already running and is given when the musical verse is about to end, with the aim of bridging every movement of the musical verse. Keytone symbols are used to align the chords. The language used verbally and nonverbally. The key tone is used by worship leaders to music priests, and music priests to one another. The music priest has a dominant role according to the symbol of the song map. The keyboardist has a role on the cooling down section, guitarist on interlude, drums on full music and overtones. Worship leaders and music priests must have spiritual criteria as pulpit ministers, because spiritual criteria are the main key to be good to God.

Martin Romberg’s Choral Music: Stylistic Features

Contemporary choral music from Scandinavia increasingly attracts the attention of performing groups both abroad and in Russia due to its deep originality and distinctiveness. The article examines the choral work of the contemporary Norwegian composer Martin Romberg, whose work is characterised by Neo-Romantic poetics and style. Three of his choral cycles are subjected to detailed analysis: Aradia (2012), Rúnatal (2012), and Requiem of Runes (2022). The themes of the works reflect the Norwegian composer’s interest in mysticism and mythology, as well as in archetypal motifs and plots. The relationship between words and music in his choral compositions is structured according to traditional concepts. The features of the modal-intonation sphere and the structural organisation of the works are determined both by the general artistic concept and by the phonetic properties of the language of the poetic sources, including the specifics of their verse organisation (for example, alliterative versification). Along with a general reliance on a Romantic tonal idiom, Romberg’s musical language reveals elements of medieval modal archaism, jazz, and Russian song, which are intertwined in an organic unity. The compositions of the 2010s use elements of phonemic composition techniques and Klangfarbenmelodie [“sound-colour melody”], along with various phonic approaches. In the later work (Requiem), the choral writing is simplified, but the interest in timbral experiments remains, as manifested in the unusually low tessitura of the sound of all the voices, which is conditioned by ideas of “depth” and “ascension” of register.

The effects of anthropogenic noise and urban habitats on song structure in a vocal mimic; the gray catbird (Dumetella carolinensis) sings higher frequencies in noisier habitats

In urban and human-modified landscapes, animals face novel selection pressures resulting from differences in habitat structure and increased anthropogenic noise. Urban noise pollution can negatively impact songbirds because low-frequency noise often masks portions of birds’ mating signals and reduces signal transmission. Previous research has demonstrated that the songs of birds in more urban habitats have structural differences that can enhance signal transmission when noise is present. The majority of these studies have focused on species that deliver short, stereotyped songs and have limited repertoires. Gray catbirds (Dumetella carolinensis, family: Mimidae) sing long bouts containing imitated, improvised, and invented song elements, and therefore may have an increased ability to vary songs in response to noise. We hypothesized that aspects of developed habitats including loud anthropogenic noise and changes to land cover would impact catbirds’ song structural parameters, including song minimum, peak, and maximum frequency, frequency bandwidth, and entropy. We recorded and processed songs from 42 male catbirds and analyzed over 18,000 song elements from sites along an urban gradient from western Virginia to the Washington, DC metropolitan region. We quantified the urban intensity at each site-centroid based on percent canopy cover, percent impervious surface, and noise level. Song features such as minimum, maximum, and peak frequency increased significantly as noise levels increased, demonstrating that catbirds in noisier areas sing higher frequency songs compared to individuals in quieter habitats. Land cover variables also significantly predicted certain song features such as maximum frequency (impervious surface) or entropy (canopy cover). These structural differences in catbird song can limit the negative effects of environmental noise-masking, even for their long song bouts, and suggest that vocal mimics respond to anthropogenic noise. Future studies could investigate repertoire size and composition along an urban gradient and if these structural differences lead to functional consequences for the songs of vocal mimics.

First song description of the humpback whales, Megaptera novaeangliae (Balaenopteridae: Artiodactyla), breeding off Nicaragua

Introduction: Humpback whales belonging to the Central American (CA) Distinct Population Segment breed off the Pacific coast of Nicaragua. Knowledge on this endangered population and its conservation status is limited.
 Objective: The aim of this study is to provide the first description of the CA humpback whale song off Nicaragua, which helps further understanding on the population’s dynamics.
 Methods: Acoustic recordings of songs were obtained during dedicated boat-based surveys at two locations on the Pacific coast of Nicaragua in 2018. Recordings were made from the boat using a portable system for a total of 23 hours and 56 minutes over 32 days from January to April 2018. A total of nine recordings of high enough quality for the song analysis were identified during this period from three different days at Padre Ramos (PR) (northern site) and four different days at San Juan del Sur (southern site). Song structure was described using standard humpback whale song elements, i.e. themes, phrases, and units.
 Results: A total of seven themes, seven phrases, and 19 unit types were identified. Three of the themes were common and frequently repeated in a song cycle while the others were less common in the repertoire and were recorded only during the middle of the season. Song theme order was variable, both within and across song sessions.
 Conclusions: This study provides the first song description of humpback whales along the Pacific coast of Nicaragua. Comparison of these songs with other datasets from the CA population and other breeding areas in the Northern Hemisphere could help understand the migratory patterns of these animals and the level of connectivity among populations since song can be socially learnt. Future data collection of humpback whale song recordings in Nicaragua is necessary to gain further understanding on the song structure variation within this population and the mechanisms of song transmission and dynamics across populations in the region.

UNRAVELLING THE VISION OF PEACE AND UNITY A CRITICAL DISCOURSE ANALYSIS OF JOHN LENNON'S IMAGINE

This research investigates the iconic and timeless masterpiece song "Imagine" by John Lennon, seeking to unravel the profound messages and ideologies that lie beneath its evocative lyrics for peace, unity, and social change. The study employs Critical Discourse Analysis (CDA) by Teun A. van Dijk to conduct a comprehensive analysis of macrostructure, superstructure, and microstructure of the song. This research adopts a qualitative approach, utilizing content analysis and thematic analysis to explore the meanings and messages conveyed in the lyrics. Content analysis is employed to examine the explicit messages and themes presented in the song, while thematic analysis delves into the implicit meanings and underlying ideologies. This study finds that in the level of macrostructure, the vision of a utopian world free from religious, national, and materialistic barriers emerges as the central message, emphasizing the value and dignity of every individual. The superstructure analysis delves into the construction of the song's elements and their cohesive arrangement, highlighting its universal appeal and global consciousness to participate actively in creating positive change to build a better world. The microstructure analysis investigates the nuanced meanings conveyed by specific linguistic elements, such as rhetorical devices, lexical choices, emotive language, and direct address. Beyond its explicit messages, "Imagine" serves as a critique of societal constructs that perpetuate divisions and inequalities, challenging listeners to imagine alternative ways of organizing society based on compassion and shared humanity.

The Soul of Ethnic Music: The Mongolian Ethnic Song "Hongyan" as an Example

In the era of new media, Chinese film music presents a diversified development situation, and in Chinese film music, the element of ethnic music is an important part that cannot be ignored, and it has an important influence on the development of Chinese film music. The article mainly starts from the content and role of film music, specifically analyses the application of folk music in Chinese film music, and explores the three major elements of folk music, namely, musical instruments, folk songs and operas, and at the same time, takes the Mongolian song "The Wild Geese" as an example, and focuses on the analysis of the application of the elements of folk songs in Chinese film music.

Goethe’s Lyrical Discourse in the 5th Poem of ‘Römische Elegien’

The discourse is generally meaningful, with essential potential in the field of communication as an indisputable feature of the society. Meanwhile, the lyrical discourse, as a segment of mass discourse, marks a specialized communication in poetic literary works, namely in the conversational plane between the giver and the recipient. The most specified element of this literary genre is the lyrical ‘Ich-Form’, which, among other text-building signs, is the most analyzed and discussed one of the 5th poem of Goethe’s lyrical-elegiac work, ‘Römische Elegien’.
 The study lyrical discourse in the 5th poem of Römische Elegien” presents the composition of the lyrical song in general, built and structured by the multitude of textual components and typical elements of the lyrical song. The organization of all signs in the text is laid out and arranged with precision and deep philosophy, building thus an unprecedented lexical, syntactic, semantic and stylistic unity. As a master of words, thoughts and poetic expressions in the discussed poem, Goethe has realized a source with different directions of linguistic and aesthetic flows, through which the recipient receives a lot of information marked with arrhythmic pulses. This study will be an initiative for analyzing some stylistic issues in the lyrical discourse and its elements in this well-known German poem, as issues that have not been explored yet.

Piano etudes by Lo Maisho: trends in the development of the genre

In the modern professional piano art of China, the genre of piano etude is an important part of musical culture and occupies a special place in the history of Chinese music. The first samples of etudes for piano by Chinese composers date back to the 20s of the last century and were created as pieces for the development of the pianist's technical skills. During the development of the genre, the artistic value of the sketches has increased: from a play of a technical nature, the sketches have become independent, dramaturgically constructed compositions. The composers rely on the intonation features of national music, use the melodies of traditional Chinese songs, and resort to modern writing techniques. However, innovation is usually limited to this. The young Chinese composer Luo Maisho created a series of etudes in which, on the one hand, he inherits traditional methods of composition, on the other, he violates the established foundations. For the first time, the metrorhythm region becomes a donor for structural transformations. The author of the article introduces the work of the young composer, offers an excursion into the history of the development of the piano etude genre in China, provides an analysis of the metrorhythmic organization of Lo Maisho's etudes. Thus, the purpose of the study is to analyze new trends in the development of the piano etude genre in China, the subject is the metrorhythmic organization of the musical fabric. In piano studies, Lo Maisho reaches a new level in the progression of the genre. He identifies new trends in Chinese piano music, introducing elements of folk songs, imitation of the sounds of traditional musical instruments, reflecting the imagery and various cultural characteristics of the peoples of various regions of China, introduces new techniques of metrorhythmic organization. The composer does not limit himself to the use of pentatonics, but resolutely strives for innovations in the genre of etude. It is noteworthy that the author departs from the established tradition, which is based on the use of Western European techniques combined with the intonation culture of Chinese melodies, he offers new forms of compositional solutions.

Grammatical Analysis of African American Vernacular English in The Eminem Show Album: A Linguistics Perspective

Albeit the research on African American Vernacular English (AAVE) as nonstandard form of English spoken by African Americans in lower socioeconomic classes has been documented by many scholars, little is known about it from the perspective of Wolfram's theory. To fill this lacuna, the present study aims to elucidate the grammatical elements of Eminem's lyrics song in the album "The Eminem Show." This single case study showcased 32 lyrics song from Eminem's album with that seven grammatical features such as copula/auxiliary absence, the invariant be, the remote been, the subject verb agreement, the negation, the question formation, and the nominals. The findings found that negation is the most common grammatical features whereas the invariant be is the least common. The findings indicated that songs serve as a platform for asserting identity and criticizing diverse social, cultural, political, and economic issues. The performers are free to improvise in accordance with the tendencies and interests of the critic. Thus, the song can serve both to identify the current social crisis and as a catalyst for the crisis itself.

Accurately predicting hit songs using neurophysiology and machine learning.

Identifying hit songs is notoriously difficult. Traditionally, song elements have been measured from large databases to identify the lyrical aspects of hits. We took a different methodological approach, measuring neurophysiologic responses to a set of songs provided by a streaming music service that identified hits and flops. We compared several statistical approaches to examine the predictive accuracy of each technique. A linear statistical model using two neural measures identified hits with 69% accuracy. Then, we created a synthetic set data and applied ensemble machine learning to capture inherent non-linearities in neural data. This model classified hit songs with 97% accuracy. Applying machine learning to the neural response to 1st min of songs accurately classified hits 82% of the time showing that the brain rapidly identifies hit music. Our results demonstrate that applying machine learning to neural data can substantially increase classification accuracy for difficult to predict market outcomes.

Does the syrinx, a peripheral structure, constrain effects of sex steroids on behavioral sex reversal in adult canaries?

We previously confirmed that effects of testosterone (T) on singing activity and on the volume of brain song control nuclei are sexually differentiated in adult canaries: females are limited in their ability to respond to T as males do. Here we expand on these results by focusing on sex differences in the production and performance of trills, i.e., rapid repetitions of song elements. We analyzed >42,000 trills recorded over a period of 6 weeks from 3 groups of castrated males and 3 groups of photoregressed females that received Silastic™ implants filled with T, T plus estradiol or left empty as control. Effects of T on the number of trills, trill duration and percent of time spent trilling were all stronger in males than females. Irrespective of endocrine treatment, trill performance assessed by vocal deviations from the trill rate versus trill bandwidth trade-off was also higher in males than in females. Finally, inter-individual differences in syrinx mass were positively correlated with specific features of trills in males but not in females. Given that T increases syrinx mass and syrinx fiber diameter in males but not in females, these data indicate that sex differences in trilling behavior are related to sex differences in syrinx mass and syrinx muscle fiber diameter that cannot be fully suppressed by sex steroids in adulthood. Sexual differentiation of behavior thus reflects organization not only of the brain but also of peripheral structures.

Odraz ľudovej piesne v ponáškach Janka Kráľa

Slovak folklore played an important role in the Slovak national revival movement in the 19th century. Incorporating the elements of folk songs in poetry meant simplifying the language, substituting classical verses for syllabic ones, thus proceeding to a new romantic era. The authors were able to introduce and disseminate revolutionary ideas to common people in a comprehensible way. That is how “ponáška” - a syncretic genre of poems resembling to folk songs - was created. The aim of this paper is to analyse the similarities and differences of Slovak folk songs and “ponášky” to describe this syncretic genre more closely. Initially, basic features of Slovak folk songs - parallelism, natural imagery, typical repetitive motifs, importance of form - are presented. These are then identified in the interpretations of poems “Žíznim, mám studničku”, “Krajinská pieseň” and “Verše” by a major author of the syncretic genre: Janko Kráľ. The analysed texts resemble authentic folk songs both in form and meaning. The author uses isosyllabic verses to fit folk song melodies; incorporates traditional natural and social motifs; and most of all, applies the parallelism at all levels (form, content, and composition). On the other hand, the unique author's contribution in distinguishing ponáška from folk song is manifested in various means. He reflects the historical and social context in strong agitating images of “Krajinská pieseň”; or uses the theme of un-freedom, which is atypical for folklore. However, the crucial difference is a result of a perceptible and heartfelt dive into the lyrical subject, who experiences feelings typical of a romantic hero, such as loneliness, misunderstanding, even conflict.