Song Sung Research Articles

“Liikumisega” vene laulude kultuurilisi tähendusi Udmurdimaa Debjossõ rajooni Varni külas

The aim of this article is to identify the specific features of the functioning of Russian round dance and dance songs in the traditional culture of the Northern Udmurts. Four songs in Russian, recorded from Udmurt performers by Tatiana Vladykina in the village of Varni, Debessky district of Udmurtia, in 1981 were chosen for the study: “My zaganem sem’ zagadok”, “Pri dolinke voda”, “…Tropitsa, kanapel’kalotitsa”, “Chornyi voron vodu pil”. The correlation of these songs with Russian songs of the round dance tradition in the Kama-Vyatka interfluve allows classifying them as “songs with movement”. The analysis of the musical and poetic stylistics of the songs and the cultural context of their performance reveals that in Udmurt folklore, Russian round dance and dance songs exist parallel to the well-established core of sacral clan chants specific to the Udmurts. At the same time, a trend of assimilating Russian “songs with movement” has emerged in the traditional musical culture of the Northern Udmurts, to the extent that some of them have acquired a sacral meaning. These trends in the existence of round dance and dance songs in Russian in the Northern Udmurt dialect traditions are linked to a collective, unifying element, the festive atmosphere, and the perception of Russian round dance songs as a “borderline” genre. Yet another trend applies to the practice of performing round dance songs at a slow tempo. For the performance of these songs, singers demonstrate a more personal approach to the reproduced sonic fabric, expressing their individuality and uniqueness at the sound level. The singing of some slow Russian round dance songs by the Northern Udmurts turns out to be consonant with the performances of krezes in terms of musical-rhythmic parameters. The third tendency, the incorporation of slow round dance songs with Russian lyrics into Udmurt rituals, is also connected with the inherent possibility of endowing the sound canvases of such songs with “special” timbral, acoustic, and metric-rhythmic qualities characteristic of indigenous Udmurt ritual songs and “harmonious” with the musical expression of Udmurt rituals.

STUDY ON THE COMPOSITION AND SINGING CHARACTERISTICS OF CHINESE ANCIENT POETRY CHORAL WORKS

ABSTRACT The study of the creation and singing characteristics of ancient poetic choral works involves the study of ancient poetic art, choral art, harmonic composition, song singing, conducting techniques and artistic development, which is a very challenging research topic. This is mainly due to the special characteristics of the subject matter itself. As an art that encompasses a wide range of subjects, chorus itself has many characteristics in terms of connotation and extension. As the most important element of choral art, the combination of choral composition and singing characteristics can emphasize the characteristics and style of choral art. The main purpose of this study is to analyze the choral works of ancient poems composed since the emergence of Chinese choral art, organize them into categories, then analyze their characteristics, and then summarize the corresponding singing characteristics of different styles, periods and genres, so as to come up with a complete system of ancient poems composition and singing characteristics. By combining qualitative research with quantitative research and through interviews with experts, the various weaves of this system are further refined. The results of this study will help to present some innovative ideas and help in the current field of Chinese ancient poetry choral works. It will be of some guidance to some scholars engaged in the art of mass choral singing as well as introductory choral conducting.

Analysis of the "patriotic feelings" and singing of the chinese art song "Wang Xiang Ci"

"Wang Xiang Ci" is one of the representative works of Chinese art songs, composed by the renowned composer Lu Zaiyi to the poem "Wang Da Lu" by the calligrapher Yu Youren. This article discusses various aspects of "Wang Xiang Ci", including its creation background, musical form, musical language, and emotional expression. Through the exploration of the use of national musical elements, the stratification of emotional expression, and the discussion of technique and artistic expression in singing practice, the article further clarifies the expression of the theme of home and country in the song; It also explores how to better convey the sentiment of home and country in singing practice.

Vocal Techniques and Musical Literacy in the Singing of Chinese Gu Shi Ci Art Songs

Chinese Gu Shi Ci art songs are a genre that combines ancient Chinese poetry with music, reflecting profound emotional depth and cultural ethos. The primary objective is to investigate the integration of vocal techniques and musical literacy in the performance of Chinese Gu Shi Ci art songs. The study conducted at Nanchang University and the China Conservatory of Music involved interviews and observations with five key informants: professors, vocal coaches, professional singers, music educators, and opera performers. Data analysis included transcribing interviews, coding for recurring themes, and cross-referencing observational data. The findings reveal that precise vocal techniques, such as breath control and tone modulation, and a deep understanding of the poems’ contexts significantly enhance performance authenticity and emotional resonance. The study underscores the need for an integrated curriculum in music education that combines technical skills with cultural and literary education. It suggests incorporating historical context modules, technical workshops, interdisciplinary approaches, performance analysis, and practical opportunities to foster a comprehensive understanding of Gu Shi Ci art songs. This approach can deepen students’ appreciation and ensure the rich cultural heritage of these songs continues to resonate with contemporary audiences.

Test-Retest Reliability of EEG Aperiodic Components in Resting and Mental Task States.

Aperiodic activity is derived from the electroencephalography (EEG) power spectrum and reflects changes in the slope and shifts of the broadband spectrum. Studies have shown inconsistent test-retest reliability of the aperiodic components. This study systematically measured how the test-retest reliability of the aperiodic components was affected by data duration (1, 2, 3, 4, and 5min), states (resting with eyes closed, resting with eyes open, performing mental arithmetic, recalling the events of the day, and mentally singing songs), and methods (the Fitting Oscillations and One-Over-F (FOOOF) and Linear Mixed-Effects Regression (LMER)) at both short (90-min) and long (one-month) intervals. The results showed that aperiodic components had fair, good, or excellent test-retest reliability (ranging from 0.53 to 0.91) at both short and long intervals. It is recommended that better reliability of the aperiodic components be obtained using data durations longer than 3min, the resting state with eyes closed, the mental arithmetic task state, and the LMER method.

The Sound and Function of Different Language Particles in Zhuang Songs of Some Western Areas in Guangxi

The often as “ornamental” syllables named language elements refer to song-text particles, sometimes also named ‘vocables’, or appellations interspersed among the lyrics during the actual singing process of the singer. It appears to some extent in the Zhuang singer's singing of songs in various regions. Unfortunately, these syllables are often overlooked in textual records because most of them cannot be interpreted in terms of their actual lexical meaning when they are independent of the wording of the phrase. The specific expressions of the singers play an essential role and are an inseparable part of Zhuang songs. If the core text of the lyrics is like the beam of the house, then the vocables are the bricks of the wall. The combination of the two can build a house of Zhuang songs. Based on audio data of Zhuang songs collected the border and junction areas of western Guangxi, this study compares the difference between the songbook texts written by the singers that need a memory tool and the actual singing syllables used. For that, the authors interviewed the singers, analyzing the changes produced in sound by the vocables or short sentences in the singing process and summarizing their laws and functions within the singing events.

VOCAL LEARNING TO ACHIEVE TONE ACCURACY IN READING CHORAL SCORES AT VOCAL EXTRACURRICULAR AT SMPN 8 DENPASAR

This research, entitled "Vocal Learning to Achieve Tone Accuracy in Reading Choral Scores at Vocal Extracurricular at SMPN 8 Denpasar", is motivated by students' lack of understanding in singing each note properly and correctly. In a choir, the accuracy of a singer's tone is absolutely essential so that the song sung sounds good. The aim of this research is to increase sensitivity to tone through various vocal techniques provided by the author. There is one vocal technique that according to the author needs to be studied in order to achieve pitch accuracy, namely the intonation technique. Apart from that, it is not enough to just learn vocal techniques, but it is also necessary to learn basic music theory in reading choral scores. The music theory in question is reading the number notation or solmization properly and correctly, knowing the value of the number notes and also understanding the chart of the song being sung. The learning methods used in this research are the lecture method, discussion method, question and answer method, and demonstration method. Data collection was obtained through interviews, document studies, and direct observation of the learning process that occurred. The extracurricular vocal class students at SMPN 8 Denpasar became the research objects. The expected achievement target is to achieve the learning objectives that have been set.

Campur Kode dalam Lirik Lagu-Lagu Bagus Wirata: Kajian Sosiolinguistik

In recent years, the practice of code mixing in public communication in Bali has increased. Code mixing events can occur anytime and anywhere. One form of code mixing that has attracted attention is code mixing in pop song lyrics, especially Balinese pop songs. This is a concern in itself regarding the character of Balinese Pop songs, which were initially aimed at preserving Balinese art and culture, especially in terms of language, but have become something that seems to be forced solely for the sake of market demands. The formulation of the problem in this research is: 1) What is the form of code mixing in the lyrics of songs sung by Bagus Wirata 2) What factors encourage code mixing in the lyrics of songs sung by Bagus Wirata. The research approach used is an empirical method because the use of Balinese in the lyrics of Bagus Wirata's songs already exists naturally. The object of research in this research is the songs sung by singer Bagus Wirata. The data collection methods used were document study, observation and interviews.The research results are; 1. The form of code mixing in the lyrics of songs sung by Bagus Wirata is: The use of code mixing in the form of words is most often used in the lyrics of songs sung by Bagus Wirata with a total usage percentage of 63%. Code mixing in the form of clauses ranks second with a usage percentage of 19%. The remainder is code mixing in the form of phrases amounting to 13%, code mixing in the form of basters 3% and code mixing in the form of repeated words 2%. 2. Factors that encourage code mixing in the lyrics of songs sung by Bagus Wirata are; 1) language dominance, 2) language attitudes, 3) psycholinguistic motivation, 4) lack of equivalent words in Balinese, 5) commercial target market. 3. The impact of using code mixing on the Balinese language, namely; 1) destruction of the Balinese language system, 2) extinction of the Balinese language.

The Specifics of the Study of Small Stanzas in Kazakh Poetry

The article is devoted to the study of the genesis and features of the development of “kara olen” (poem), an ancient genre of Kazakh literature. We are talking about the environment of chanting, the area of distribution of “kara olen”, which conveys the way of life, culture and literature of the Kazakh people. The opinions of scientists on the nature and definition of the genre are considered. It is known that "Kara olen" was studied by Sh. Ualikhanov, M. Auyezov, K. Zhumaliev, E. Ismailov, B. Kenzhebaev, B. Uakatov, Z. Akhmetov, G. Doskenov and other famous scientists. Examples from the statements of several of these scientists are given. It also tells about the work of the country's famous poet Orazakin Askar on the collection of quatrains “kara olen”. The poems of akyns and zhyrau were taken into account and analyzed. The nature, specificity of the content, and the theme of “kara olen” differ, which takes its place in Kazakh poetry. The specificity of the genre lies in the fact that four stanzas in it attach great philosophical importance, various phenomena of life manifest themselves. The people leading the country conveyed their wise thoughts to the general public through “kara olen”. The meaning of those stanzas that have come down to us is discussed in the article. Both the creator and the distributor of the poem are the people themselves. These stanzas were passed from mouth to mouth and even sounded in the song. At weddings, at various events, young people competed in quatrains, sang songs to the accompaniment of dombra. The article explores the type, character and specificity of the genre.

Exploring the experiences of a person with dementia and their spouse who attended a telehealth music therapy programme: Two case examples from Ireland

ABSTRACT Introduction There is an increased need for accessible psychosocial interventions that support both people with dementia and their spouses. Recent research demonstrates the benefits of music therapy and caregiver-delivered music therapy for this population. This paper contributes to the emerging evidence base on telehealth music therapy for people with dementia outside of a COVID-19 era when in-person services were available. Method This exploratory phenomenological study explores the experiences of two couples who attended a six-week telehealth music therapy programme via two detailed case examples. Online semi-structured interviews with each couple were conducted pre and post intervention and analysed using Interpretative Phenomenological Analysis. Results Three shared themes emerged from the data analysis including (1) social isolation and lack of confidence linked to dementia diagnosis is worsened in rural locations, (2) song singing and song writing enables us to revisit happy memories, and (3) telehealth delivery increases access due to geographical location. The findings are presented in a narrative case study format to provide rich detailed descriptions of the music therapy programme and to illuminate the experiences of the participants. Discussion In both examples, telehealth delivery expanded access to music therapy (which was otherwise unavailable) and stimulated reminiscence which in turn encouraged meaningful engagement between the couple. The delivery of music therapy via telehealth, alongside in-person delivery, has the potential to expand access to music therapy to those who may not have access to or are no longer able to attend community support services due to geographical location, increased cognitive decline or reduced mobility. The successful delivery of telehealth music therapy is dependent on several factors including digital literacy, access to appropriate technological devices, caregiver support and level of cognitive decline.

Dziesmu virknes kāzu apdziedāšanās tradīcijas kontekstā: īpatnības un problemātika

Singing of mutual mocking songs in Latvian traditional culture is an ancient and highly cultivated custom. It can be found at clean-up days, traditional annual celebrations and family-related festivities. Of all the festivities, this tradition is most vividly manifested in weddings and has been preserved in some places until today. Singing usually takes place between two groups – boys and girls, unmarried girls and married women, guests and housemates, etc. During the wedding, the singing takes place mainly between the relatives of the groom and the bride. This custom, which permeates the entire wedding ritual, symbolically features a clash between the groom’s family and the bride’s family, which allows psychological tension to be discharged by reaching the catharsis. In particular, singing mocking songs effectively discharges the accumulated negative feelings in a socially permitted manner. The 12th volume of the academic edition “Latvian Folk Songs” (Latviešu tautasdziesmas) was published in the summer of this year. This volume continues, which was started in the previous volume by publishing wedding songs. This edition covers the wedding theme more completely than all the ones published so far, so the texts included in the 12th volume and those not included were selected as the sources for this study. A folk song is usually understood as a content-autonomous and structurally closed quatrain, but when working with song manuscripts, it turns out that they are not always complete texts in content and form or aesthetically perfect texts. Additionally, a fairly large number of songs consist of much more than four lines. If we look at the tradition of Latvian folk songs as a whole, it can be seen that, for various reasons, long songs and strings of songs have been significantly less studied; therefore, the article focuses on one of these phenomena – strings of songs. The article also focuses on the importance and development of the wedding mutual mocking song singing tradition over time and the variability and improvisational nature of the mocking songs. At the end of the article, attention is paid to the following problems of publishing strings of songs: lack of classification principles, volume limitations, including whether and how the mentioned reasons have influenced the inclusion of a string of songs in the 12th volume of “Latviešu tautasdziesmas”.

Identification of Religious and Cultural Elements in Arts Learning Materials at Indriyasana Somoitan Kindergarten and Mosque Syuhada Kindergarten

This research aims to describe religious and cultural elements in art learning materials in kindergarten. Art learning in early childhood is often carried out to develop various aspects of intellectual, social and spiritual maturity. This can be supported by the school's background under a religious foundation so that the learning carried out can be adapted to the existence of a religious environment in each school. The two schools use different cultural and religious elements in art learning at school. The writing of this article is the result of observations, interviews and documentation carried out using qualitative research methods with triangulation of data sources. The data analysis carried out obtained the results that the religious elements that appeared in arts learning in the two kindergartens were religious stories, religious singing, prayer activities with tunes, projects through stories in books, dancing with religious songs, playing angklung with spiritual songs, and playing gamelan with religious songs such as prayers. Meanwhile, the cultural elements applied are the introduction of traditional musical instruments, the introduction of traditional dance, the singing of children's songs, the use of traditional games associated with learning, making batik, and the use of traditional clothing in art learning.

Singing and the Dùsgaidhean: The Impact of Religious Awakenings on Musical Creativity in the Outer Hebrides

The evangelical revivals (known in English as ‘awakenings’ and in Gaelic as na dùsgaidhean) of the nineteenth and twentieth centuries had an immediate impact upon singing and music-making in Presbyterian communities in the Western Isles as well as a significant long-term effect on both traditional and sacred musical practice and performance. Awakenings often led converts to re-evaluate their participation in traditional music-making and singing and compelled many to give up their secular music practices upon conversion. Even so, music-making itself was not discouraged, and these religious revivals created an environment which encouraged converts to replace their secular repertoire with spiritual songs and hymns, and to embrace the singing and new composition of spiritual songs to express their newly experienced Christian faith. This article examines the impact of religious revivals on music-making in the Outer Hebrides – particularly Lewis – and the significant musical shifts, including the composition of new repertoire, which took place within communities as a result.

Song lore of the Jing (Kinh) people in China: preservation and transformation of the Vietnamese tradition

The article is devoted to the songs of the Jing people. The research is based on the textual recordings of the songs. The Jing people, one of the 55 officially recognized ethnic minorities of the PRC, are ethnic Vietnamese who have lived in China in the territories bordering Vietnam since the beginning of the 16th century. Folk song singing is one of the important ethnic markers of Jing culture. These songs have much in common with the folk songs of the Viet people living in Vietnam, both in form and content. The article examines what features are typical for the Jing songs, what images and themes are common in these songs, how Jing people preserve the Vietnamese tradition, but at the same time construct their own.

Songs to learn and sing

Based on over 50 years of the author watching Liverpool FC (LFC) football matches, this article examines the use of songs in and around such matches, locating it within wider debates about the use of song at football matches.The development of modern media’s relationship to football will be considered in three main areas – the importance of television in the modern age, the availability of songs on the internet and the use of the sound systems to control fan behaviour at matches. The article aims to provide some insights in to one of the most important – but often neglected – aspects of football fandom. It does so by examining the place of Liverpool Football Club (LFC) within the city, football and the media, fandom, singing at football matches and the particular nature of LFC songs. The article concludes by suggesting that it is in the singing of songs that true football fandom is found.Keywords: singing at football matches, Liverpool FC, popular music, football fandom, Spion Kop

BENTUK DAN FUNGSI ENDE MANDIDENG PADA MASYARAKAT DESA KAMPUNG BARU KABUPATEN MANDAILING NATAL SUMATERA UTARA

The article “The Form and Function of Ende Mandideng in the Community of Kampung Baru Village,Mandailing Natal Regency, North Sumatra”, is a presentation of a study to answer two problems, (1) what is the form of Mandideng singing in the community of Kampung Baru Village, North Panyabungan District, Mandailing Natal Regency, Province North Sumatra, and (2) how the Mandideng song functions in the culture of the people of Kampung Baru Village. The research in this article applies qualitative research methods using field research methods under the umbrella of Budilinggono and Alan’s theory. P. Merriam about the form of serving as well as function and uses. According to Budilinggono, the presentation form analyzes melodic phrases in songs and song structures related to rhythmic, melodic and time signature motifs. According to Merriam, an analysis of use and function includes a discussion of how music is used in human activities and the reasons why music is used. The results of the research in this article state that Ende Mandideng, in content analysis, reveals the concept of moral instillation in children. In terms of its function, Ende Mandideng has five functions, namely: (1) emotional expression function, functioned to express the parents’ love for their children when putting the child to sleep, (2) entertainment function, functioned as a reliever of parents’ boredom from their daily activities, ( 3) communication function, functions as a means of conveying messages through songs sung by parents to their children, (4) function of strengthening adjustment to social norms, this function can explain that Mandideng songs have the power to instill the child’s mindset. children from childhood in accordance with applicable social norms, especially regarding social norms related to the relationship between children and parents, (5) the function of preserving and stabilizing culture, functioning as the preservation of folk songs which are currently almost being displaced by developments over time.

The Musical Representation of Sri Lankan Kaffirs

This study presents a very small community within the Sinhalese context of Sri Lanka in light of academic interest: the Kaffirs. Their communal history reaches far back into colonial times, and they did not distinguish clearly from which territories in Africa these Kaffirs, an expression introduced by Portuguese rulers for slaves and servants brought to Sri Lanka from African shores, came and how they identify. Currently, Kaffirs are seen through the gaze of public writings and common biases. They are believed to have their performance styles and their strong association with the drum, dance, and vocal genres integrated into the canon of Sinhalese traditions. One specific vocal expression is the singing of manja songs, which are introduced and roughly analysed in this short paper. Manja songs are not so widely known to all people living in Sri Lanka. A specific study of these songs has not yet taken place. The main methods used are microanalysis, literature studies, and open interviews with those who are connected to Kaffirs, either as members of the group or as people related to their studies and performing arts. Beyond presenting the exciting text repertoire, it is to connect the musical skills that come with this way of singing with related arts such as dancing and drumming. The Kaffirs’ performance potentials are widely underestimated, as many Kaffirs have integrated, through marriage and social subordination, into the current society. Yet, it is important to focus on the snippets in the history of developing performance skills and their relatedness to another continent in order to help understand global issues and their future.

Life Beyond Retinal Surgery: A Survey

Introduction: The purpose of our study is to find out about the hobbies of retinal surgeons, how they have followed their childhood hobbies and how some have evolved their hobbies while ho some have developed new hobbies over time and how their hobbies have been influenced by their work life.
 Materials and Methods: This survey study consisted of 04 questions which were carefully extracted from previously published papers explaining the hobbies of retinal surgeons other than retinal surgery and finding out if they are satisfied in their current field or not practicing competent Retinal surgeons of the Institute were consulted to finalize the questionnaire who gave their valuable feedback and the survey points were revised and established.
 Results: According to the results obtained from the questions regarding their childhood hobbies 36 reported sports as their childhood hobby, 16 said it was book reading, 6 reported watching television as their childhood hobby, 18 had the hobby of drawing in their childhood whereas 4 didn’t respond.
 When inquired about their hobbies now, 36 reported reading books, 12 said it was swimming, 2 said it was singing songs, 6 enjoyed golf, 14 reported jogging as their hobby, 6 said their hobby is travelling, 4 surgeons didn’t respond.
 Conclusion: It was seen that most of the retinal surgeons carried their childhood hobbies as their adulthood hobbies while some also had different hobbies as adults compared to their childhood hobbies.

Physiological Motivational Meanings of Farmer's Chant 'Amang Kasuruan' During the Cap Tikus Production (Semiotic Analysis, Ethnolinguistic Approach)

The cultural legacy holds a position of utmost richness in the collective human society. It manifests in diverse forms, with cultural traditions displaying unparalleled uniqueness across regions. These distinctive traits, deeply ingrained in the societal fabric, are exemplified by various customs, including the reverence for indigenous languages expressed through song. The significance of regional languages, especially in indigenous or cultural musical compositions, profoundly influences the everyday lives of communities. North Sulawesi, with its diverse tribes, epitomizes a cultural mosaic characterized by rich mores and customs. Among these, the South Minahasa tribe prominently utilizes the Tountemboan language as a linguistic emblem. This vernacular permeates daily discourse, not only in conversations but also resonating within the verses of songs and chants, inseparable from their artisanal endeavors. This study explores the motivational significance embedded in folk songs utilized during the intricate process of crafting Cap Tikus, a cultural artifact interwoven with the region's agricultural pursuits. The amalgamation of labor and lyrical expression in this context provides an intriguing subject for investigation, acting as a catalyst for instilling enthusiasm and fortitude among farmers, particularly those dedicated to cap tikus cultivation. Methodologically, the research employs a descriptive qualitative approach following Spradley's framework. It is supplemented by Semiotic analysis, drawing from Ferdinand Saussure's perspective on signs in the social milieu. Additionally, the study integrates Abraham Maslow's theory of motivational needs, outlining a hierarchical structure that encompasses physiological or basic needs. The explication of motivational underpinnings, ensuring the fulfillment of basic needs, unfolds through the impassioned rendition of folk songs during the cap tikus farming process. In essence, this research reveals the profound layers of motivation inherent in the ritualistic singing of folk songs, elucidating their role as markers and signifiers within the lyrical fabric. The comprehensive explication of these motivational meanings serves as a testament to the intricate interplay between cultural expressions, agricultural practices, and the fulfillment of fundamental human needs.

METODE PENGAJARAN BAHASA BALI DALAM TRADISI LISAN GENDING MAMANDA DI DESA ADAT KEDISAN KECAMATAN KINTAMANI KABUPATEN BANGLI

Kedisan Traditional Village is one of the Old Villages located in Kintamani District, Bangli Regency which is often referred to as Bali Aga Village or I Kraman Wingkang Ranu. Kedisan Traditional Village has various traditions, customs, culture, and dresta which are indeed passed down from generation to generation. Every inheritance of traditions in the village through various methods of its own. One of the traditions in the Kedisan Traditional Village is the oral tradition of gending mamanda. Gending mamanda is a type of sacred song sung by village women who are married and belong to the cluster of Let Village and Anyar Village, which number 185 people. This implementation is carried out at Dalem Pingit Temple when the ceremony and ceremony of the Nusaba ke-dasa are about to end or at the time of nganakin. But preceded by Mendak Ratu Puseh. Solving this problem by using descriptive qualitative methods with the type of method ex past facto. The preservation of Mamanda's music uses a learning method so that it remains sustainable in the midst of the onslaught of the globalization era. The methods used are the note-taking method, the reading method, and the listening method.