Song Scene Research Articles

Indonesian Reduplication in Contemporary Java Song Lyrics

Abstract
 The presence of contemporary Javanese songs in the last two decades has become popular in Javanese society. Along with the times, new musical genres were present in the Javanese song scene, including campursari, dangdut koplo, and hip hop. Javanese language has been preserved in contemporary Javanese song lyrics, to show the authenticity of Javanese folk songs. In addition, there is the use of Indonesian in the lyrics of contemporary Javanese songs. The phenomenon of using Indonesian in contemporary Javanese song lyrics is an interesting thing to study. Based on linguistic units, it can be analyzed from the aspects of phonology, morphology, and syntax. Regarding morphological aspects, this study will discuss the reduplication of Indonesian in contemporary Javanese song lyrics. There are three stages of the strategy that were passed in this study, namely the stage of data collection, data analysis, and presentation of the results of data analysis. Data collection through listening to linguistic units in contemporary Javanese song lyrics. The note-taking technique is used to record the results of storing data on the data card in the form of transcription according to the spelling according to the applicable rules. Data analysis was carried out after classified data that was netted, to determine how reduplication in Indonesian is in contemporary Javanese song lyrics. Presentation of the results of data analysis was carried out formally and informally. Based on the research results, it was found that there were four reduplications in Indonesian in the lyrics of contemporary Javanese songs, namely basa-basi, cek-cok, kos-kosan, and sekonyong-konyong. The percentage of the number of reduplications in Indonesian in contemporary Javanese song lyrics is 5.6%. Based on its form, there are two types of reduplication in Indonesian in contemporary Javanese song lyrics, namely repetition with a combination of the process of adding affixes and repetition with phoneme changes. The function of reduplication in Indonesian in contemporary Javanese song lyrics is as verbs, nouns and adverbials. Meanwhile, in terms of the meaning of reduplication in Indonesian in the lyrics of contemporary Javanese songs, it is to express expressions used only for courtesy, quarrels, boarding houses, and suddenly.
 
 
 Keywords: reduplication, Indonesian language, contemporary Javanese song lyrics

From Belfast to the Somme (and back again): loyalist paramilitaries, political song, and reverberations of violence

ABSTRACT During the Northern Ireland conflict (1968–1998), paramilitary groups were supported and sustained by a sociocultural apparatus that helped legitimise their position within the community and disseminate their political message. From the use of flags and murals, to loyalist and republican parades, working-class vernacular culture revealed who was in control of various districts within the Province. For many working-class Protestants, loyalist songs were a key component of this culture, connecting the past and the present. Unlike the better-known marching band scene, which is a huge public spectacle, the loyalist song scene is much more private. Performed in a closed setting, within local bars and clubs, loyalist songs are reproduced for internal consumption rather than outward expression. Yet, in addition to celebrating a particular loyalist culture, such songs also serve an important function in authenticating and legitimising paramilitary groups, connecting them to older organisations, whose legacy they draw upon. This paper focuses on one such song, exploring how ‘The Ballad of Billy McFadzean’ is used to connect the Ulster Volunteer Force of the 1960s onwards, with the 1913 organisation of the same name. In so doing, the paper attempts to illustrate the political utility of song and how songs can be used to launder and legitimise conflict, as well as those engaged in political violence.

Tum Toh Mohammed Rafi Nikle: The song sequence in contemporary Hindi cinema

ABSTRACT This article explores the role of the song sequence as a narrative device in contemporary Hindi cinema. It does this through an analysis of select song sequences from six films – Ae Dil Hai Mushkil, Tumhari Sulu, Dangal, Highway, Tamasha and Udta Punjab. These songs play an essential role in the film narratives, and the article discusses them through a focus on song picturization, song lyrics and the absence of lip-synchronization. The broader context of my inquiry are the changes in the role of the film song in recent years marking both continuities as well as discontinuities with the established song tradition of Hindi cinema. I argue that even as a realist aesthetic is changing the form of the song sequence, the song scene continues to be a complex mechanism of storytelling in contemporary Hindi films.

Synchronicity and continuity of sound and image in early Indian cinema

This study examines a small sample of song scenes from Indian films produced between 1931 and 1935. It considers the impact of the technological constraints imposed by the absence of post-production technology for sound editing and for sound-image synchronization. That impact included the common practice of simultaneous sound and image recording (to ensure synchronization of sound and image) and of filming song scenes in single takes (to ensure musical continuity). The study traces the evidence available in cinematic texts suggesting that film-makers recognized the cinematic limitations of scenes filmed in these ways and sought technological solutions based on the use of the continuous sound track as the ‘master’ track for a song scene and other musically and technologically inventive ways to produce cinematically (as well as musically) interesting song scenes. The implications of early film production practices for the relationship of song scenes to the diegesis are also considered.

The Filmmaker as DJ

Filmmaker Martin Scorsese’s Casino (1995) is structured around a compiled score of almost sixty popular music recordings. Scorsese himself, working with editor Thelma Schoonmaker and using digital editing tools for the first time, assembled and arranged a diverse body of pre-existing music into a unified score that plays for more than two of the film’s three hours. This article offers a close analysis of Scorsese acting as composer—crafting Casino’s compiled score in the manner of a DJ—and, in reciprocal fashion, editing film images and narrative to recorded music. Casino demonstrates highly varied, multivalent relationships between musical form and film form. Indeed, musical form proves a constituent element of Casino’s construction at multiple levels of magnification. The large-scale form of the score as a whole articulates the larger arc of Casino’s dual narrative. The strategic deployment of musical styles (from jazz to rock to pop) and the targeted use of lyrics as voiceover (often subtly deploying aspects of racial performance in popular styles) serve to differentiate narrative strands and fill out otherwise unspoken characterization. Scorsese builds several sequences in Casino on a direct, often audible relationship between song forms and narrative unfolding, creating song scenes in which compiled tracks heard as musical wholes grant a musical shape to discrete narrative units. Casino’s complex use of music does not, however, penetrate the inner lives of the film’s three primary characters, who seem unaware of the musical flow Scorsese employs to set their story dancing. The analysis draws upon the filmmaker’s own words about his creative process and offers select comparisons to other Scorsese films with compiled scores.

Bird Song Scene Analysis Using a Spatial-Cue-Based Probabilistic Model

[abstFig src='/00290001/22.jpg' width='300' text='Spatial-cue-based probabilistic model' ] This paper addresses bird song scene analysis based on semi-automatic annotation. Research in animal behavior, especially in birds, would be aided by automated or semi-automated systems that can localize sounds, measure their timing, and identify their sources. This is difficult to achieve in real environments, in which several birds at different locations may be singing at the same time. Analysis of recordings from the wild has usually required manual annotation. These annotations may be inaccurate or inconsistent, as they may vary within and between observers. Here we suggest a system that uses automated methods from robot audition, including sound source detection, localization, separation and identification. In robot audition, these technologies are assessed separately, but combining them has often led to poor performance in natural setting. We propose a new Spatial-Cue-Based Probabilistic Model (SCBPM) for their integration focusing on spatial information. A second problem has been that supervised machine learning methods usually require a pre-trained model, which may need a large training set of annotated labels. We have employed a semi-automatic annotation approach, in which a semi-supervised training method is deduced for a new model. This method requires much less pre-annotation. Preliminary experiments with recordings of bird songs from the wild revealed that our system outperformed the identification accuracy of a method based on conventional robot audition.**This paper is an extension of a proceeding of IROS2015.

“Sing it Like Poor Barbary”: Othello and Early Modern Women’s Performance

This essay examines the Folio version of Othello 4.3 via textual, performance and transnational analytic models in order to contextualize Desdemona’s Willow Song against the sung performances of English female ballad sellers and the Italian actress-singers of commedia and court fame. In this way, the essay argues that modes of female theatricality were contested at the heart of the dramatic and Shakespearean canon. The Folio Willow Song scene reworks the widely circulating trope of the lamenting abandoned woman, a figure whose virtuosic distress captivated audiences of the celebrated Italian commedia and court singers during the late sixteenth and early seventeenth centuries. One paradigmatic instance of virtuosic song and verbal dexterity, Isabella Andreini’s La Pazzia d’Isabell a (1589), is examined to propose Othello 4.3 as a bravura demonstration of the boy player’s practice in opposition to women’s performance, staking a claim for the virtuosity of the English boy in competition with the foreign actress. Further, given the ongoing scholarly debates over the absence of the Willow Song from the 1622 Quarto and its status in relation to the stage, the essay suggests that the virtuosity required of the English boy actor in the song’s performance feeds into casting practice and hence can illuminate the scene’s textual history.

Film segmentation and indexing using autoassociative neural networks

In this paper, Autoassociative Neural Network (AANN) models are explored for segmentation and indexing the films (movies) using audio features. A two-stage method is proposed for segmenting the film into sequence of scenes, and then indexing them appropriately. In the first stage, music and speech plus music segments of the film are separated, and music segments are labelled as title and fighting scenes based on their position. At the second stage, speech plus music segments are classified into normal, emotional, comedy and song scenes. In this work, Mel frequency cepstral coefficients (MFCCs), zero crossing rate and intensity are used as audio features for segmentation and indexing the films. The proposed segmentation and indexing method is evaluated on manual segmented Hindi films. From the evaluation results, it is observed that title, fighting and song scenes are segmented and indexed without any errors, and most of the errors are observed in discriminating the comedy and normal scenes. Performance of the proposed AANN models used for segmentation and indexing of the films, is also compared with hidden Markov models, Gaussian mixture models and support vector machines.

Mining movie archives for song sequences

Music and songs are integral parts of Bollywood movies. Every movie of two to three hours, contains three to ten songs, each song is 3---10 min long. Music lovers like to listen music and songs of a movie, however it is time consuming and error prone to search manually all the songs in a movie. Moreover, the task becomes much harder when songs are to be extracted from a huge archived movies' database containing hundreds of movies. This paper presents an approach to automatically extract music and songs from archived musical movies. We used song grammar to construct Markov Chain Model that differentiates song scenes from dialogue and action scenes in a movie. We tested our system on Bollywood, Hollywood, Pakistani, Bengali, and Tamil movies. A total of 20 movies from different industries were selected for the experiments. On Bollywood movies, we achieved 97.22% recall in song extraction, whereas the recall on Hollywood musical movies is 80%. The test result on Pakistani, Tamil and Bengali movies is 87.09%.

Admirable Musicians: Women's Songs in Othello and The Maid's Tragedy

Desdemona, Othello tells us in IV.i, is An admirable musician who can sing the savageness out of a bear.1 Earlier in the play Othello seems to ponder the significance of her musical talent, as though it will provide the key to her character: faithful wife or super-subtle Venetian (I.iii.358-59). He protests that there is nothing inherently wrong with musical accomplishments such as singing, playing, and dancing: Where virtue is, these are more virtuous (III.iii.192); but his qualification reveals a deeply ambiguous response to female singing, a response explored more fully in the contemporary drama. In the following essay, I examine the way in which the convention of female singing operates as a characterizing device in some of the plays of the period. I argue that in Othello IV.iii, the scene in which Desdemona sings her willow complaint, Shakespeare draws on an association of female singing with female sexuality for his portrait of Desdemona. One of the willow song scenes most like Desdemona 's is Il.i of Beaumont and Fletcher's The Maid's Tragedy, where Aspatia also sings a willow complaint. I suggest that in The Maid's Tragedy, Beaumont and Fletcher are not simply imitating Shakespeare but consciously revising his willow song scene in Othello. Their revision tells us much about Shakespeare's version. The tendency of Othello criticism to mirror the perspectives of the play's main characters is frequently noted. Carol Thomas Neely neatly divides critics into two camps: Othello-critics and Iago-critics, and argues that both misunderstand the women in the play. Christopher Norris observes the general tendency of literary criticism to repeat, in compulsive fashion, the acts of misreading exemplified by various, more or less deluded characters within the tale; not surprisingly, he cites the criticism on Othello to illustrate his point.2