Song Texts Research Articles

«На нашей нивке сегодня обжинки…» – жнивные песни белорусов Омской области

The paper analyzes archival and published materials of Belarusian harvest songs recorded on the territory of the Omsk region. Previously unpublished archival texts of harvest songs recorded on the territory of the Omsk region are introduced into scientific circulation. Quantitative and qualitative indicators of the material are provided, and the degree of exploration of the topic is accessed. The study involved ascertaining the ethnicity of the informants, which included not only Belarusian settlers but also individuals from the Chernihiv province and Russian territories bordering Belarus. Additionally, an attempt is made to clarify the geo-graphical distribution of reaping rites in the Omsk region. Particular attention is paid to the issues of classification and systematization of song material. The study adapts the functional-ethnographic classification of texts, initially proposed by Belarusian scientists, to analyze the Irtysh records. A comparative analysis of the resettlement and maternal traditions is conducted, focusing on the Belarusian versions found in most Omsk texts. Systematization is performed by identifying plots and plot situations and finding similar or similar text variants in Belarusian sources. The perspectivity of the topic under consideration is noted, suggesting the need for further comprehensive research: mapping of areal zones of tradition in the Omsk region, compiling a systematic index of traditional content formulas to demonstrate the poetic nature of stubble songs, performing a musical and stylistic analysis with the identification of typical tunes and comparing them with Belarusian variants.

Seaxes and skalms: Single-edged weapon in the Old Icelandic texts

The article examines the problem of the use in combat conditions and classification of single-edged short-bladed weapons of the Germanic and neighboring peoples of Europe in the early Middle Ages — combat knives seaxes. The authors consider the numerous existing archaeological finds in the context of terms used in modern Scandinavian languages, and also turn to the analysis of options for using the terms “seax” and “skalm” in archaic texts. A contextual analysis of the use of these terms in the poetic texts of songs from the Elder Edda and the prose of Icelandic sagas belonging to various subtypes is presented. According to the authors, the term “skalm” had a very specific purpose and fell out of everyday use — as a designation for a real type of weapon — long before the Viking Age. In the texts describing the Viking Age, it is not people who are consistently armed with skalms, but the dark and negative characters opposing them — trolls, jotuns, etc. However, in the heroic epic tradition, skalms, on the contrary, are used by heroes; It was the skalms that became part of the poetic formulas describing the equipment of the heroes of the epic. There is reason to believe that this term comes from ancient times and by the Viking Age it became an anachronism, acquiring new connotations and negative meaning.

Egbanegba Musical Type as Medium of Communication among People of Alavanyo in Ghana

The primary aim of this paper is to explore how Egbanegba musical type could serve as a communicative medium among the people of Alavanyo traditional area as well as to highlight the socio-cultural values of the music, and its effect and the structural relationship between the music and the life of the people. Through observation and interview, it is evident that the thematic content of Egbanegba song texts and their interpretations form an integral part of the components of performance which is indicative of its communication channels. The population of the study consisted of Musicians, Historians and cultural co ordinators in the area. The paper concludes by portraying the artistic cultural values in the music and how the people express their sentiments through the musical type. The study recommended that Egbanegba musical ensemble should be well packaged to help promote cultural values of the people in Alavanyo. In addition, the youth should be encouraged to take active part in its performance so as to ensure its continuity and for social benefits. Besides, Cultural festivals in both the schools and the community should be strengthen so that this musical type could continue to showcase the cultural assets of the people

Improvement of students' cognitive activities through teaching the concept “time” at the university

The article highlights ways to improve the cognitive activity of students by revealing the national character of the language, the conceptual analysis of the literary text. It is proposed to study the language in a cognitive direction on the basis of the continuity of language and nation, artistic text, including folklore texts. The article explores historical songs in a cognitive aspect for the first time. At the same time, through various methods and teaching methods have been determined the ways to improve cognitive thinking, the ability to broaden one's horizons, and the ability to reasonably express one's opinion. Based on the texts of historical songs, theoretical and practical tasks are developed and introduced. Practical tasks determine how the concept of “time” is reflected in historical songs. It is supposed to reveal the nature of the concept “time” in the Kazakh worldview. Various tasks have been prepared to develop students' ability for cognitive analysis of the language of a work of art. The article uses interactive teaching methods and techniques in the educational process. The article uses interactive teaching methods in the educational process: pair work, group work, decision tree, filling in the Fila table (fact, idea, logic, argument), etc. The methods used are aimed at developing students' cognitive activity. The article provides for the development of students' thinking through writing works for students, improving the ability to express their thoughts in a reasoned manner, mastering language communication through the integrity of thought, consciousness, language, and increasing the ability to comprehensively implement the cognitive process. As a result of the study, active, creative, and cognitive activities of students will be developed.

STOP ECOCIDE: ‘SHCHEDRYK’ COVER FOR PEACE AND LIFE

The article is devoted to the study of the representation of environmental and military issues in the English-language song text ‘C+arol of the Ecocide’, which is actually a timely cover for the legendary melody ‘Shchedryk’ by an outstanding Ukrainian composer M. Leontovych. In the narrative ‘Carol of the Ecocide’ there are analyzed the depictions of tragic pictures of wartime reality, which appeal to the recipients with a call to stop the death, destruction of the natural environment, which is taking place in Ukraine on a significant scale. It is traced how these lyrics clearly outline the harmful and destructive effects of war on the environment, also called ecocide, which is considered a crime against humanity. The author notes that ‘Carol of the Ecocide’ combines various goals, among which the following stand out: to honor the 100th anniversary of ‘Shchedryk’, and in this way to reactualize the national cultural and historical heritage, which is a fundamental factor in nurturing ethnic identity, which is extremely and crucially important in the fight against colonial enslavement; and call for an end to ecocide as a result of the war in Ukraine. There has been revealed a connection between ‘Shchedryk’ by M. Leontovych and ‘Carol of the Bells’ by P. Wilhousky and ‘Carol of the Ecocide’ by Ye. Matyushenko and Yu. Zvonar. The significance of the cultural sphere for the security and prosperity of the country, state, and nation, as well as for the preservation and cherishing of ethnic identity, is emphasized.

SONGS FROM ENGLISH-LANGUAGE CARTOONS AND THEIR TRANSLATIONS INTO UKRAINIAN AND GERMAN

Background. Songs in the field of film publishing play an important role in the understanding of the main characters’ emotions and thoughts, conveying a specific atmosphere, or even serving as a substitute for dialogues and words. But in most cases, songs are not translated into other languages during the release of the film, forgetting that the song lyrics can play a key role or even carry the inherent opinion of the producer. Due to the great need for film art now, its development in society and further prospects, there is a problem with the appropriate translation of songs and with insufficient research and materials on this topic.
 The purpose of the article is to identify difficulties in translating songs and analyze translation transformations using the example of the lyrics of the song «How Far I'll Go» from the cartoon «Moana».
 Methods. Classification and comparative method for determining difficulties in translation; generalization of the received information; practical analysis of translation methods on the example of a song from the cartoon «Moana»; synthesis of translation difficulties with translation methods and classification of ways to translate a song in films and cartoons.
 Results. The most common difficulties in translating songs are lexical difficulties: correctly understand the latest words in the original language, choose a synonymous word or meaning from the translation language, and determine the correct interpretation of texts with abbreviations. It is also important to preserve the main meaning of the text, its rhyming, and take into account cultural features when translating a song. The translator also needs to have knowledge in the field of poetics and music to accurately translate the song text while preserving the opinion of the author of the original song and the musical drawing. Insufficient theoretical base forces translators not to translate the original song and leave it in the original, which leaves the viewer without understanding the song and its role in the film, which also causes the loss of emphasizing the feelings of the scenes and the main idea of the author.
 Discussion. Studying this topic of translating songs from cartoons allows us to conclude that songs are an important part of cinema, which studios in most cases neglect when translating films into other languages. Only knowledge of the theory of Translation Studies is not enough for translators for professional and adequate translation, so there is a problem of insufficient number of professional and qualified translators. The study also found that lexical constructions are used by translators quite often when translating songs and are the main translation tool. The need for knowledge of ways and methods of correct translation of song texts in the film industry requires scientists and researchers to draw attention to this problem and engage in active research in the direction of song translation, which means a great prospect for creating a new direction in the field of translation studies due to the demand and necessity of song translations in the film industry.

Гневные божества «докшиты» в ранних песнях-шастрах монголоязычных народов

This article focuses on the early shastra songs of the Mongol-speaking peoples, offering insights into the wrathful deities referred to as “dokshita” in the Buddhist pantheon. Shastras are songs with spiritual content dedicated to the praise of the Teachings of Buddha, deities, clergy, Buddhist monasteries, pilgrimages, and similar themes. This study does not address the question of the origin of the wrathful deities. The author adheres to the assumption that Mongolian peoples borrowed them from Tibetan Buddhism. Archival and published materials serve as the source base for the study. A comprehensive characterization of the “dokshita” found in the early records of the shastra songs of the Mongol-speaking peoples is conducted using a descriptive method. Consideration is given to the etymology of the phrase “shastir duu.” A review of the sources with early texts of shastra songs of Mongolian-speaking peoples is presented. The history of the spread of Buddhism among Mongols, Buryats, and Oirats (Kalmyks) is examined. Six wrathful deities of the “dokshita,” namely Mahakala, Yamantaka, Hayagriva, Damdin Dorlik, Vajrapani, and Okon Tengri, are identified and described. For that purpose, folklore, lexicographical, and ethnographic materials, as well as Buddhist sutras and ritual texts, are examined. The analysis of song texts complements and expands the knowledge about “dokshita,” including their functions, appearance, location, attributes, mounts, and others. The present article makes a valuable contribution to the existing research on the characters of the Buddhist pantheon, both in Russia and abroad.

Podcasting Taylor

Music podcasts use a variety of listening modes to draw non-musically trained listeners into close readings of songwriting, production, and reception. Taylor Swift has attracted the attention of music podcasters who have devoted individual episodes and entire serial podcast to topics ranging from her celebrity feuds and well-publicized relationships, her autobiographical and deeply referential song texts, her savvy branding strategies and relationships with fans, and her public rejoinders to music industry inequities, such as her Taylor’s Version re-recordings. In the case of several Swift podcasts, these expert listeners are also avid fans, challenge the stereotype that avid pop fans are only amateur listeners. Her fans, notably those who self-identify as Swifties, are also active podcasters. This article is about listening to the sonic environments of fan-driven podcasting and the sonic spaces of fandom through music podcasting. This article engages with the sound and content of fan-driven music podcasting and the listening techniques used by hosts to listen to both the music of the artist where their fandom is centered, as well as the paramusical elements of their star persona and sonic strategies used by hosts to shape a virtual sonic environment where listeners listen with and through the hosts’ embodied listening. Through two case studies, The Swift Talk and Switched on Pop, I demonstrate how fan-driven Swift podcasting is sonically constructed and approaches listening as an inclusive social, analytic, and embodied practice of communicating fan musical knowledge to produce new insights into how listening, songwriting, star persona, and fandom are articulated in fan podcasting.

Философские константы в творческом самоопределении песенных поэтов

The article compares the views of foreign philosophers on the nature of creativity, their reception in the Russian literary criticism and the creative implementation of some points in the Russian songwriting. The works of W. Benjamin (1892–1940) The Task of the Translator (1923), M. Blanchot (1907–2003) The Space of Literature (1955), P. Valery (1871–1945) Poetry and Abstract Thought (19390, S. Mallarme (1842–1898) The Crisis of Verse (1896), M. Heidegger (1889–1976) Hölderlin and the Essence of Poetry (1936), K. G. Jung (1875–1961) Archetype and Symbol (1934–1961) are used as a theoretical basis. Song texts of the representatives of the author’s song tradition A. Galich, A. Bashlachev, whose work is usually attributed to bard rock, and E. Letov, one of the main representatives of Russian punk rock, are used as research material. The choice of the authors is determined by the concept of the work, which seeks to show the universality of the constants identified in the process of research for various song and poetic traditions and philosophical systems. As such constants, the utopian concepts of “a single discourse”, a single “conversation” of poetry, and “pure art”, which is a “goal-in-itself”, stand out. Other constants relate to the inner state of the poet, techniques aimed at achieving inspiration – we are talking about the concepts of “removal”, or, according to Shklovsky, “estrangement”, as well as “silence”. The central constant is the concept of the “inexpressible”, “elusive”, which is the essential goal of every poet, clearly seen, but always unattainable. In thinking about each of the constants of philosophical thoughts about creativity, we find confirmation or discrepancies in the creative practice of song poets. It leads us to the conclusion that song poetry, following traditional poetry, accepts and transmits the experience of the Russian and Western philosophical and poetic thoughts about the essence of creativity. Typological overlaps are of a supranational, cosmopolitan nature, which indicates the universality of the constants we have identified. The work contributes to the study of song poetry, which confirms its status as the next stage in the existence of poetic discourse, which proves the legitimacy and necessity of studying song texts from a philological standpoint.

Nec doctum satis: humanist translation and English recreational song

Abstract Studies of the literary dimensions of English Renaissance madrigals frequently cordon off these works from non-musical forms, such as the prosodic experiments being carried out by humanist poets or the humanist practices of literary translation and imitation. Conversely, studies of humanist translation in England almost never consider recreational song, instead focusing exclusively on more ‘serious’ genres. However, several collections of recreational song published in the period present these songs as legitimate humanist works. In some cases, these collections offer the first English translations of classical and Renaissance poems. Nicholas Yonge’s Musica transalpina (1588) and Thomas Watson’s Italian madrigalls Englished (1590), for example, call attention to their translations of eminent Italian poets (Petrarch, Ariosto, Tasso) and address themselves to classically learned readers. The humanist character of such anthologies was well enough known to be satirized by Thomas Weelkes in his Ayeres and phantasticke spirites (1608), whose classical references have seldom been seriously considered. At the heart of these exchanges is an implicit debate over whether recreational song texts are an appropriate vehicle for humanist learning.

Русские песни в путевом дневнике И.А. Гончарова «Фрегат “Паллада”»

In the travel diary “Frigate “Pallada”, in the chapter “On the Cape of Good Hope” I.A. Goncharov mentions many Russian songs: author’s and folk songs, romances of various artistic merit, and even an opera aria. Together with the owners of guest houses — the British — travelers sing Scottish and English romances and ballads, once they witness an African “ball”, but still it is the Russian song that accompanies Goncharov and his companions on a trip to South Africa. The article provides the texts of Russian songs that are missing in the narrative (they are only named), and their function is established. During the trip and writing the diary “Frigate “Pallada” Goncharov worked on the novel “Oblomov”, at the same time the Crimean War, tragic for Russia, was going on — these facts helped to make some interesting observations on the functionality of Russian songs. The repertoire of songs that sound during a journey through the Cape Colony of England is thoughtful, and it not only reflects the mood of travelers at one time or another, but also represents the image of Russia, responds to the military situation in the Crimea.

What Kind of Information Is Provided to Families of Children with Hearing Loss in Early Education Practices?

It is known that children with hearing loss may experience delays in language development and other developmental areas compared to their peers, depending on their disabilities. Early diagnosis, benefiting from hearing technologies, and participation in early education environments with their families are very important in minimizing these delays that children with hearing loss may experience. The purpose of this research is, therefore, to examine the information presented to families in early education practices with children with hearing loss and their families. The data of this case study, one of the qualitative research methods, was collected through observations, semi-structured interviews, documents, and products. The data was analyzed inductively. The findings showed that the information presented to the families is transmitted in a way that is based on continuous interaction, includes open and responsive interactions, encourages the family, and that feeds and expands cyclically from the previous information. It was also found that the educator received information about the history of the child and family, device use, daily routines, and that the families needed information about their children's development, coping with behavioral problems and future expectations. Additionally, that the educators ensured that the families received information on the use of hearing aids, language support and communication skills, enrichment of daily routines, and additional deficiencies were revealed. In early education implementations, materials such as toys, picture cards, story books, song texts were used and forms for informing families were used for registration as a product of the information presented.

근대 대중가요의 죽음 표상과 그 형상화 방식

This paper attempts to extract death-related thoughts, images, and motifs from Korean classical poetry to find out how they are shaped, and to try to categorize them. Among them, the genres to be reviewed are New folk song, Short poetry, New song in the modern transition period. This study aims to explore the values and directions of life pursued by the people of the day through the representation of death implied in the popular song text. The perception of death that we could see in the modern popular song text is the emotions, reactions, and countermeasures that human figures feel in the disconnected worldview of life and death. Death is expressed differently depending on the times, situations, and genres, but it is basically an object that cannot be overcome, and the adaptive life that accepts it accounted for most of the work. Of course, the feeling of disappointment, regret, and loneliness about it were also included in the work. Under these realistic conditions, there was an expression of willingness to enjoy the present, an effort to find the meaning of life, and an attitude to preserve the value of a finite life, accepting that there was nothing to do about “how to live”.

Exploring the Efficacy of Utilizing Song Texts as an Instructional Tool for Teaching the Present Perfect Tenses

Teaching grammar has always posed challenges for English teachers due to the tendency for it to be perceived as boring, resulting in disinterest and poor retention among learners. This study investigates the effectiveness of incorporating songs as an instructional tool for teaching the present perfect tenses in the context of English language learning. It explores whether songs can facilitate a deeper understanding of the tenses’ usage, promote accurate application in authentic contexts, and enhance learners' overall interest in learning English as a second language. A mixed-methods approach was employed, combining quantitative measurements of learners' performance on a grammar test with qualitative data gathered through focus group discussions. The results indicate that the group taught through the use of songs demonstrated significantly better test scores compared to the control group. Moreover, the qualitative analysis revealed students' positive perceptions of using songs, emphasizing the engaging and enjoyable nature of this approach. The findings align with previous research, highlighting the benefits of using songs in language learning, including increased motivation, engagement, and language proficiency. These results contribute to the growing body of research supporting the incorporation of music into language instruction and suggest its potential as an effective instructional tool for enhancing grammar proficiency. Further research is recommended to strengthen the generalizability of these findings and explore the underlying factors that contribute to the effectiveness of using songs in language learning contexts. Overall, this study emphasizes the importance of embracing innovative and creative approaches to create meaningful language learning experiences for students.

NEPOTISM AS A PHENOMENON OF UKRAINIAN INGUOMENTALITY (BASED ON THE MATERIAL OF RITUAL SONGS)

The presented research is dedicated to the study of the tradition of nepotism in various rituals of both ritual cycles: family and calendar. Taking into account the fact that there is no single point of view among historians, cultural scientists and ethnologists on the understanding of the origins of nepotism, we included in the analysis the texts of ritual songs, in particular, christening songs, which contain information about godfathers, attitudes towards them, characterized their moral qualities and relationships between them. The purpose of the study was to analyse the texts of folk songs, which reveal the ancient folk tradition of nepotism among Ukrainians. The object of our attention was the phenomenon of nepotism, that is, the presence of them in separate rituals of the family and calendar cycle. The subject was the characteristics of godparents and the relationship between them, the attitude towards the godparents of godchildren, etc. In the process of working with the texts of ritual songs, we used the methods of induction and synthesis, descriptive and comparative methods, as well as the method of contextual and interpretive analysis of folklore texts. The etymology of the words kum and kuma confirms the information that most of the rites of the family cycle were purely female. Ethnographic materials testify to the importance and necessity of the presence of them in the christening ritual. After the christening ritual in the church, the organizers of the festive dinner could be both the parents of the newborn child and the godfather and godmother. At dinner, the main ones were the midwife and godparents, they were the ones who sang majestic songs. Taking into account the fact that the godfather and godmother were chosen for the child with the aim and the possibility of fully duplicating the duties of the biological parents in case of misfortune with the latter, in ancient times sexual relations between godfathers were not condemned, as between a real husband and wife. As a result of the research, we came to the following conclusions: the tradition of nepotism in family rites was primary; in calendar – secondary. Grooming in the broadest sense involved the establishment of family or blood relations; in a narrow way – duplication of married life in all its manifestations as a result of imitative magic, in which the ancestors believed. Godfathers were treated with great respect, even more than biological parents. Folk songs about godparents that have come down to our times record a later period when they were honoured and glorified, and intimate relationships between godparents were condemned.

Роль лексического повтора в текстах татарских песен

The aim of the study is to determine the role of lexical repetition in the formation of syntactic links between sentences in the texts of Tatar songs. The paper analyses the function of this linking means in the formation of a chain link. The scientific novelty of the study lies in carrying out a comprehensive analysis of the use of lexical repetitions in poetic texts and identifying the structural features of Tatar songs. It is the first time that the types of syntactic links that are established through lexical repetition between sentences in the texts of Tatar songs have been identified and illustrated with examples. As a result, the syntactic relations between the parts of sentences that are formed through lexical repetition have been determined; the following syntactic links between sentences that are most characteristic of song lyrics have been revealed: “subject – object”, “object – subject”, “subject – subject”, “object – object”, “attribute – subject”.

The Brigands’ Song among the Ngạn People in Northern Vietnam

Abstract The Ngạn people are a small local population of Tai-language speakers now living in the eastern districts of Cao Bằng province in northern Vietnam. They are said to be descendants of mercenary soldiers hired by the Mạc royal court during the 17th century. It is the aim of this article to investigate where they came from, using Vietnamese and Chinese ethnological studies, on-site fieldwork and analysis of song texts, supplemented by information from a ritual text and a family register. My conclusion is that the original homeland of the Ngạn was in the Youjiang River valley in west-central Guangxi. Numerous strands of evidence point to a strong connection with the native chieftaincy of Tianzhou and the neighbouring chieftaincy of Si’en.

Semiotics of Song Discourse During the Spanish Civil War (1936-1939)

Song discourse, as a type of discourse, represents a special field research. A piece of music related to a certain historical context is part of the expression of culture, memory and identity of the nation. The aim of the study is the interpretation of song and poetry works from the period of the Spanish Civil War (1936-1939), one of the difficult stages in the history of the country, as well as a semiotic analysis of the song texts of the two fighting parties. The analysis of the lyrics makes it possible to determine the key features of the depiction of the military conflict within the linguocultural, linguocognitive, social and political context. The role of song discourse as part of propaganda and a way to rally the population against the designated enemy is defined. In addition, the relevance of the study is consonant with the socio-political course of Spain in the last few years to deal with the traumatic past of the Civil War and the consequent dictatorship of F. Franco. The material of the study is Spanish-language song texts about the period of the Spanish Civil War (1936- 1939). The main research methods are lexical-semantic, contextual, corpus analysis, methods of semantic and pragmatic interpretation. In addition to the study of the song discourse of the Civil War period, the song discourse of the post-war period is also analyzed. The authors conclude that song and poetry texts acted as an effective tool for rallying the people and quickly conveying the position of the conflicting parties, strengthening propaganda. To date, the musical works of the supporters of the Republic who lost the war in 1939 and after 1939, which were censored in Spain, basking in the popularity, given the campaigns of Spanish public organizations to search for the remains of soldiers and perpetuate the memory of the victims of the Civil War of 1936-1939 and the dictatorship.

Empréstimos do inglês na língua cabo-verdiana no presente e no passado

The main objective of the present study is to observe the influence of English on the Cape Verdean language, taking into account the historical events and the linguistic contacts between the languages in question. It is intended to observe how Anglicisms have been introduced in different contexts, especially in recent times, therefore, without forgetting the British and American influence in Cape Verde in past centuries and its impact on the lexicon. The semantic fields covered include, among others, new technologies, sports and music (rap kriol). The present descriptive research is based mainly on digital sources, such as social networks, online press, dictionaries available online and song texts. In conclusion, the analysis carried out proves the constant presence of Anglicisms in Cape Verdean reality, as well as their flow related to the emergence of new phenomena that need to be named.

Media discourse linguo-methodological potential for the communicative competence development in foreign language classes

The current article examines the media discourse linguo-methodological potential for the communicative competence development in foreign language classes (including Russian as a foreign language). Special attention is paid to the analysis of typical exercises; the article identifies lack of efficient exercises aimed at developing students’ communicative competence using modern media discourse. We analyze the possibilities that diverse media texts offer in teaching foreign languages and give recommendations on the selection of illustrative materials, suggesting a set of exercises aimed at forming and improving students’ speaking skills. We used a descriptive method as a leading method in this study, partially relying on a conceptual type of language material analysis. It was found that the utilization of news and song texts in the process of foreign language teaching increased students’ motivation to learn a new language, activated all types of learners’ speech activities, and gave them an opportunity to explore standard communicative situations enriching their vocabulary. The use of IT technologies in foreign language classes contributes to effective lesson planning and allows creating authentic language environment for learners, which, in its turn, increases the efficiency of students’ communicative skills development in standard speech situations. The undertaken study resulted in the following findings: the linguo-didactic potential of media discourse in teaching foreign languages, to be more precise in the process of developing students’ communicative competence, is very high; the use of ICT in the educational process highlights the need to develop new methods for working with media texts.