Words Of Song Research Articles

Metaphors and masculine language as breaking female stereotypes in dangdut songs lyrics with vulgar content

Masculine refers to a specific construction of masculinity that is targeted towards men. Men do not inherently possess masculine traits; instead, masculinity is moulded by cultural influences. The association of masculinity with gender stereotypes in Indonesia arises from a subjective misunderstanding of the qualities of a particular group. Song lyrics containing explicit content, particularly those portraying women in derogatory or overly sexualised ways, might contribute to the establishment and perpetuation of detrimental gender stereotypes. The objective of this study is to examine the manifestation of masculinity in the explicit lyrics of dangdut songs and explore their potential to challenge gender stereotypes associated with women. This study uses a content analysis methodology to deconstruct the symbolic significance of masculine language in music lyrics. Data is collected with songs picked based on three factors (kind of music, song words, and song aspect). The music included are dangdut songs, specifically the three most widely circulated songs in 2023. The selected song lyrics consist of words, phrases, and sentences employed in a vulgar manner. The utilised aspects pertain to masculine attributes, gender-based archetypes, explicit content in song lyrics, and metaphoric expressions. Data analysis procedures carried out using qualitative data analysis approaches might include flexibility. Dangdut employs explicit content as a means of challenging gender norms using a qualitative descriptive method. The research findings indicate that the filthy dangdut songs titled "Ngidam Pentol," "Becekin Adek Bang," and "Jagung Rebus" exhibit different expressions of feminine masculinity. These expressions can be observed through the symbolic significance of the song lyrics, specifically in the form of sulking due to unfulfilled ambitions. Women engage in sexual activity with males, therefore challenging the idea that women are meek, courteous, and well-behaved.

The Traditional Sources of Four Burns Songs: ‘The Posie’, ‘Craigie-burn Wood’, ‘Ae Day a braw wooer’ and ‘A waukrife Minnie’

Robert Burns devoted much effort to the collection of tunes which he expected to be published in James Johnson’s Scots Musical Museum and George Thomson’s Select Collection. The tunes were often accompanied by the words of songs and Burns related to these sources in different ways. This article studies in detail his relationship to four songs and demonstrates how the partial information that he gives explicitly can be developed to give an impression of these source songs as wholes, so increasing our knowledge of traditional Scottish song in the eighteenth century. The study also throws light on Burns’s method of composition when he was using a traditional base.

Development of the lyrics-based deep learning algorithm for identifying alcohol-related words (LYDIA).

Music is an integral part of our lives and is often played in public places like restaurants. People exposed to music that contained alcohol-related lyrics in a bar scenario consumed significantly more alcohol than those exposed to music with less alcohol-related lyrics. Existing methods to quantify alcohol exposure in song lyrics have used manual annotation that is burdensome and time intensive. In this paper, we aim to build a deep learning algorithm (LYDIA) that can automatically detect and identify alcohol exposure and its context in song lyrics. We identified 673 potentially alcohol-related words including brand names, urban slang, and beverage names. We collected all the lyrics from the Billboard's top-100 songs from 1959 to 2020 (N = 6110). We developed an annotation tool to annotate both the alcohol-relation of the word (alcohol, non-alcohol, or unsure) and the context (positive, negative, or neutral) of the word in the song lyrics. LYDIA achieved an accuracy of 86.6% in identifying the alcohol-relation of the word, and 72.9% in identifying its context. LYDIA can distinguish with an accuracy of 97.24% between the words that have positive and negative relation to alcohol; and with an accuracy of 98.37% between the positive and negative context. LYDIA can automatically identify alcohol exposure and its context in song lyrics, which will allow for the swift analysis of future lyrics and can be used to help raise awareness about the amount of alcohol in music. Highlights Developed a deep learning algorithm (LYDIA) to identify alcohol words in songs. LYDIA achieved an accuracy of 86.6% in identifying alcohol-relation of the words. LYDIA's accuracy in identifying positive, negative, or neutral context was 72.9%. LYDIA can automatically provide evidence of alcohol in millions of songs. This can raise awareness of harms of listening to songs with alcohol words.

Punophemisms: Language Use in Ghanaian Hiplife Songs

This paper is based on how the youth, especially the Ghanaian hiplife musicians manipulate language through the usage of pun to convey messages to their listeners without necessarily sounding vulgar. It focused on the communication of such words which are considered inappropriate and yet must be spoken of, and how young musicians of Ghana try to use these words in songs so they are not seen as sounding profane or disrespectful. In order to find out how this phenomenon takes place, a number of such linguistic items which give their songs an air of style were analysed in some selected Ghanaian songs. The researchers studied the usage of pun by Ghanaian songsters as a mean of euphemising their speech. Related literature on the phenomenon was reviewed and the topic examined through the lenses of Relevance Theory. The data for this research was drawn from songs of young Ghanaian songsters and the research design was a case study. The research employs the descriptive qualitative approach in the analysis of data. The study was basically into the description of data in some selected Ghanaian songs, and the primary data was the internet where selected songs were downloaded for transcription. In this research, there emerged the term punophemisms to explain and define how pun can be used as euphemism.

Protecting Children from Harmful Audio Content: Automated Profanity Detection From English Audio in Songs and Social-Media

A novel approach for the automated detection of profanity in English audio songs using machine learning techniques. One of the primary drawbacks of existing systems is only confined to textual data. The proposed method utilizes a combination of feature extraction techniques and machine learning algorithms to identify profanity in audio songs. Specifically, the approach employs the popular feature extraction techniques of Term frequency–inverse document frequency (TF-IDF), Bidirectional Encoder Representations from Transformers (BERT) and Doc2vec to extract relevant features from the audio songs. TF-IDF is used to capture the frequency and importance of each word in the song, while BERT is utilized to extract contextualized representations of words that can capture more nuanced meanings. To capture the semantic meaning of words in audio songs, also explored the use of the Doc2Vec model, which is a neural network-based approach that can extract relevant features from the audio songs. The study utilizes Open Whisper, an open-source machine learning library, to develop and implement the approach. A dataset of English audio songs was used to evaluate the performance of the proposed method. The results showed that both the TF-IDF and BERT models outperformed the Doc2Vec model in terms of accuracy in identifying profanity in English audio songs. The proposed approach has potential applications in identifying profanity in various forms of audio content, including songs, audio clips, social media, reels, and shorts.

Al-Ďawāhir al-Tarkībiyyah fī al-Agniyyah "Taṣna' al-Mustaḥīl" lī Humood Al-Khuder

This study deals with research in particular on tarkīb characteristics. The tarkīb has two main things, namely the subject and the backstop, and the field of this study is taken from the word "Taṣna' al-Mustaḥīl" of Humood Al-Khuder. This song was released on May 16, 2017, and is becoming more popular nowadays. This study is a desk study, and the technique of desk study is to collect data from written sources for data and linguistic context in the analysis. The main source is the word song makes the impossible. In this study, the researcher uses data analysis in the song "Tasna'ul Mustahil", an analysis of content (Analysis Content), which is one of the groups of analysis methods of linguistic text analysis. As a result of the study of synthesis characteristics in the song word "make the impossible", there are four types of tarkībs: tarkīb isnādi, tarkīb idāfi, tarkīb aṭfī, and tarkīb bayāni. There are 32 tarkīb in the song lyrics, meaning 16 tarkīb of the tarkīb isnādi, 9 tarkīb of the tarkīb idāfi, 7 tarkīb atfi, and one tarkīb of the graphic tarkīb. The most composite is the alloy tarkīb.

Mesjańskie imaginarium XXI wieku… Wizja mesjanizmu polskiego w przestrzeni public history. Wybrane przykłady

The revival of Polish messianism in public history is today an interesting issue for interdisciplinary studies within the framework of the new humanities. This is an important problem for the study of public history with respect to the influence of messianic myth on individual choices. Polish messianism, present in the political, social, economic, and technological spheres, as well as in the words of songs, computer games or video art, often not expressed directly, is becoming an important element of contemporary culture.

Over-Generalizing, Under-Promising, and Over-Promising: Singing Sadness and Joy in the Church

In this article, I examine the emotional content of songs sung in Christian churches. An analysis of the lyrical content of the songs that have been tracked by Christian Copyright Licensing International (CCLI) from 1988 to 2018, shows there is a definition of the Christian life that is set before the church and in turn sung by it. The word “joy” appears 37 times and the word “praise” is used 152 times in the 133 songs that comprise the contemporary praise and worship hymnody in the defined time period. In the same time frame, the word sad or any of its derivatives (sadly, sadness, etc.) never occurs in the group of songs that are being discussed. Nor is the word “sorrow” ever used. There are two conclusions that can be drawn from the lack of the use of the word sad. The first is that sadness is undervalued. The second conclusion is that the word “sad” is not a good song word, meaning that it is awkward to sing and fit in the rhythm or meter of a song. The first conclusion relates to the lexical value of a word and the second to the semantic value. To understand the emotional content of music, the texts which provide a lexical meaning need to be examined. Secondly, the semantic meaning, which is composed of the cultural connotations, needs to be considered. The first part, the lexical, is considered by looking at only the text. The second, the semantic, involves looking at how the words and music (both apart and together) conceal and reveal meanings that surpass the lexical level. Thus, the first part of the present work will look at the lyric’s words devoid of context while the second part of the essay will examine the fullness of the songs. As the semantic levels are explored, they will be brought together with the lyrics and the previous level and the question of whether there is an overpromising of joy in the songs will be answered.

I want to celebrate as hymns acculturation of i will sing of my redeemer (an analysis on a Sangihe Masamper song)

This research aims to analyze the acculturation process through the hymn <em>I will sing of my Redeemer, which became </em>Hymn Masamper<em>I Want To Celebrate. </em>I will use a qualitative approach to explore the perspective of ethnomusicology and hymnology through observation, interviews, and literature review. Observations have been made for a long time because the researcher is also the artist of Masamper Art. But the focus of observation from 2008 until now has been Observations were made on various Masamper performances in the Sangihe community in the Sangihe Islands and the Sangihe diaspora community on the mainland of North Sulawesi in the city of Manado. The results of the analysis found that the existence of the song "I want to be grateful," Masamper's singing in the Sangihe community, is the result of acculturation from the Hymn. song<em>I will sing of my Redeemer works by Philip </em>Paul Bliss. The results of this acculturation found that there was a change in form from a 3 stanza strophic form to a 1 stanza strophic form, but it is done repeatedly. The bars have also changed from 9/8 bars for the original song to bars for mourning (Masamper Sabuah) and 4/4 bars during party performances or competitions (Mebawalase). The tempo changes from fast to slow but uses stress on each word. Meanwhile, the meter still uses the 8.7.8.7 CM (Common Meter) pattern except for the refrain. The syllabic pattern, or singing with one note for one syllable, is still carried out, but new developments have emerged in the Sangihe community, namely the Manahola singing style, or singing before the main song word, the Mamaranca style of singing repeating words in the verse that are currently being sung, and the Yora style of singing while singing. Do word stresses on the refrain or repetition of the song, which is usually done while dancing.

Tips for Cochlear Implant Recipients to Enjoy Music

The conventional wisdom used to be that cochlear implant recipients didn’t enjoy music. Since we called the external device a speech processor, candidates were routinely counseled to expect good access to speech sounds—but not to expect much in the musical realm. Pitch is not handled well by cochlear implants (CIs) and since pitch determines melody, the guidance was “it’s best not to spend time on music.” Expectations for children were even worse since they typically had no memory of music prior to cochlear implantation.Music Rehabilitation Resources for Adults with Cochlear ImplantsThe new conventional wisdom is different. Teenagers with cochlear implants may ignore what adults say they are supposed to like (or not like). Most CI recipients implanted during childhood had no preconceived notions of what music should sound like and many decided they liked what they heard! Similarly, despite guidance from professionals, many adults decided they wanted to try listening to music with their CIs. Some who had a musical background before losing their hearing pushed forward despite the fact that the sound was different. Musicians who use CIs provided guidance. Listening to music isn’t a competition. It’s about enjoyment and benefits people with CIs can derive from music, which can be enormous. Music is arguably the most complex and sophisticated form of sound possible. Music is a form of patterned sound that uses elements of pitch, melody, harmony, rhythm, and timbre to convey meaning. Lyrics are often part of music, adding a linguistic dimension to the musical experience. It is helpful to break down music into these components, and evaluate the way CI devices transmit information by category. MUSIC PERCEPTION FUNDAMENTALS Cochlear implant recipients have a range of pitch discrimination outcomes but in general, it is poor. However, many CI users can perceive melodic contour correctly, a crucial element of melody identification. Rhythm perception may be near normal. This aspect of music is very helpful for many CI users for listening to music with strong rhythmic content. Timbre perception is often poor, but nonetheless, most CI listeners can identify some musical instruments in a closed set and may be able to improve this ability with practice. Timbre discrimination (rather than identification) is intact for many CI users. Understanding lyrics for new songs is difficult. The presence of lyrics can help CI users appreciate music. The following tips may help CI recipients enjoy music. CHOOSE SELECTIONS WITH CARE INITIALLY Certain types of music may sound better than others—start with those. Familiar songs or music selections that people recall from before their hearing declined may be easier to follow. Music with a strong beat (e.g., rock, rap, hip hop, country) may be easier to perceive. Selections that are not overly “complicated” or noisy may sound better. Fewer instruments may help. MAKE THE SOUND AS CLEAR AS POSSIBLE Listen in a quiet environment with limited reverberation. Avoid competing background sounds or noise. Try connecting with streaming, telecoil, direct connect, or headphones. Cars often have high-quality speakers and provide a contained space that may provide a good listening experience. Keep the volume down, at least initially. OBTAIN THE WORDS TO SONGS Most CI (and hearing aid) users have difficulty understanding lyrics in unfamiliar music. Download lyrics and listen initially with the words. After a few sessions, one may be able to understand words in songs. Visual clues such as watching a singer’s face may help. Listening repeatedly to songs may make the words more accessible. TRY DIFFERENT SETTINGS ON THE SOUND PROCESSOR Try the setting designed for noise. Compare the noise setting to your usual setting (if different). If using a hearing aid on the contralateral ear, wearing it while listening to music may help with melody. PRACTICE Like other auditory training, repetition helps “train your brain.” Use auditory training programs for music from Angel Soundhttp://angelsound.tigerspeech.com and from CI manufacturers. Listen repeatedly to music you were familiar with before. Use above tips in combination with practice. Use a piano keyboard to pitch train and identify areas of poor performance. If there is interest in learning a musical instrument, consider starting with instruments with discrete pitch steps (piano, guitar) rather than instruments that require intonation by ear (violin, trombone). MAINTAIN REALISTIC EXPECTATIONS Music will not sound the same. Music is subjective for everyone—whether or not someone has hearing loss. Music is part of a larger experience. Most CI recipients listen to, and enjoy, music.

‘A Word of Song’: Reverberations of the Psalms in Christina Rossetti’s Roundels

Abstract Christina Rossetti’s Verses (1893) collects poetry published originally in her devotional prose works, and 57 of its 331 lyric poems are roundels. Structured helically, the roundels use refrains to accrue meaning through repetition with a difference. While Rossetti follows Swinburne’s 11-line form, she uses the songs of the Word—the liturgical and wisdom psalms in particular—as the inspiration for her words of song. By recognising the antiphonal dialogue of the roundels modelled on the Psalms, we see more clearly how Rossetti’s lyric poetry emphasises not introspection or a Romantic solipsism but rather an interchange with others that turns its participants toward God. The reverberations of the Psalms in her roundels make audible her commitment to a communal, lyric form that unites its dialogic participants in worship and in an inclusive eschatology; that overlays the temporal with the eternal; and that conveys the priestly act of proclaiming the Kingdom of God in the present.

Хоректээр как мелодико-текстовый зачин тувинского хоомея

This article discusses the notion of khorekteer in Tuvan throat-singing, khoomei, as a vocal method of performance in khoomei, executed with a constricted diaphragm or chest. The author regards khorekteer as an integral element of khoomei with semantic content. Khorekteer can precede musical composition in the form of melodic, introductory poetic strophes and be interlaced with “double-voiced episode”, or, conversely, can follow the double-voiced episode. Khorekteer as a performance method in khoomei was supposedly introduced by the outstanding Tuvan throat- singer Khunashtaar-ool Oorzhak, later described by Russian musicologist I. A. Bogdanov at the turn of the 1980s. Earlier, this method could have been called khoomei. The importance of khorekteer is evidenced by the examples of one’s chest (khorek in Tuvan) praising in khoomei texts provided in this article. The author also stresses that khorekteer is a key element distinguishing Tuvan throat-singing from solo double-voiced singing of other peoples. Researchers have described khorekteer as a musical piece, introduction with a psalmodic recitation of song words, melodic introductory recitative, one-voiced type of throat-singing in the low register with recitative melody, ditty with text, or just the initial part of musical composition. The article provides introductory poetic texts of Tuvan virtuosos of khoomei, differing by genre and melody diversity. The author agrees with Zoya Kyrgys, who was the one to put forward the theory of an exclusive role of khorekteer in Tuvan khoomei and suggested the term khorekteer instead of khoomei for the whole phenomenon of Tuvan throat-singing.

Time for a rhyme

Why do we appreciate rhyming words in songs and poetry? How long can one “hold” a sound while waiting for a rhyme?

Language of the Goddess in Balkan Women’s Circle Dance

The author narrates her journey to women’s circle dances of the Balkans, and explores how they incorporate prehistoric signs which Marija Gimbutas called ‘the language of the Goddess’. These symbolic images appear in archaeological artefacts, textile motifs, song words, and dance patterns, and have been passed down for thousands of years in nonverbal ways. The interdisciplinary approach of archaeomythology suggests that the images may carry ideas and values from the Neolithic cultures in which these dances are said to have their roots. Women’s ritual dances affirm the Old European values which honoured the Goddess, the mother principle, and the cycles of life, and offer an extraordinary oasis of women’s empowerment, even within patriarchal culture, indicating that the dances most likely originate in pre-patriarchal egalitarian matriarchy. For women today, even outside the Balkans, these women’s ritual dances offer insight and meaning through an embodied experience of the values of the Goddess.

A comparative study on the structure of the words of songs between Spanish and Italian

A comparative study on the structure of the words of songs between Spanish and Italian

The sound of nonsense - on the function of nonsense words in pop songs

Nonsense words in songs challenge the common assumption that song meaning resides in song texts. Songs containing verbal nonsense thus make evident that meaning cannot be deduced from one element (e.g. text), but rather emerges as a constant negotiation between the different medialities involved: music, text, the visual, the aural etc. It has been pointed out by several musicologists that content analysis of texts, despite having had a long historical tradition, is nonetheless insufficient or even downright misleading as a methodological approach to interpreting songs. The extensive use of nonsense words in pop songs affirms this stance, as verbal sense is simply stripped away, forcing the analyst to look for other kinds of sense. Researchers from various fields have dealt with nonsense, and quite a few of their insights are very similar – although this theoretical convergence is often not explicated, probably due to disciplinary borders. This article juxtaposes different observations about nonsense for the purpose of illuminating their mutual concordance and contributing to a systematic and comprehensible framework for understanding types and functions of verbal nonsense in songs.

Measuring the vocabulary burden of popular English songs

This study measured the vocabulary burden of popular English songs to determine what vocabulary is needed to understand 95% and 98% of the words in songs. The researcher analyzed the vocabulary in 2,175 songs, which consisted of 678,309 tokens. The results showed that knowledge of the most frequent 2,000 word families and proper nouns and marginal words provided 96.05% coverage, and knowledge of the most frequent 5,000 word families and proper nouns and marginal words provided 98% coverage of the English used in songs in the corpus.

Killing Me Softly or on the Miseducation of (Love and) Hip Hop

In this bluesy poetic prose, the author engages poetry, personal narrative, and performance to reflect on how hip hop served as a soundtrack for her transition to womanhood in the rural south. She uses lyrics from Killing Me Softly (originated by Roberta Flack in the 70s and repopularized by The Fugees in 1996) and other songs from the 90s to tell stories about growing up, love, loss, depression, and abuse situated within her race, culture, sex, and social class. She muses how the cadences of sound and the words of songs helped her become a writer and feminist. She also reflects on how her formal and informal education has informed and been informed by her relationship to hip hop, which at times has fluctuated from fixation to disillusionment.

Teaching children's songs: a Taiwan–US comparison of approaches by kindergarten teachers

The main purpose of this study was to compare differences in approaches to teaching children's song by kindergarten teachers in Taiwan and the USA. Five public school kindergarten teachers in Taipei, Taiwan, and five public kindergarten teachers in Seattle, USA, were invited to voluntarily participate in this study. They were asked to teach six children's songs, at six different times. Non-participant observations were undertaken to identify the processes by which these kindergarten teachers taught songs, and interviews and field notes provided further data. Each teacher was observed during her singing activities with children in 20- to 30-minute sessions. Regardless of the nationality, most kindergarten teachers were proficient in applying materials and resources in teaching the songs and were particularly keen on enhancing children's text memory and understanding. They were inclined to conduct musical and role-playing games to a greater extent than to provide exercises that would develop children's musical accuracy or lead them successfully in singing songs in canon. Taiwan's kindergarten teachers ably included musical instruments to accompany the songs and conducted creative activities with song words to a greater extent than did American teachers. Furthermore, the body movements they modelled to accompany the singing were larger than those of American teachers. Results also showed that the teachers with extensive music learning experiences exhibited a higher degree of confidence in their ability and willingness to provide musical training and vocal training in singing class. Findings serve as a baseline for comparing international singing pedagogy, evidencing culturally distinctive practices, and suggesting mutual options for improving kindergarten teacher effectiveness.

Songs vs. stories: impact of input sources on ESL vocabulary acquisition by preliterate children

Research in second language acquisition has paid little attention to preliterate children learning a language which is absent from their environment outside the language class. This study examines the acquisition of English words by 24 French-speaking children aged 35–59 months, who were introduced to 57 words, embedded in stories and songs. Four stories and four songs were randomly spread across four consecutive weekly workshops consisting of play-based pedagogical activities. The impact of the input source, number of encounters with each lexical item, animacy as a feature of the lexical items, and first language (L1) lexicon size was examined. Recall of target words was assessed through the selection between four images after hearing the word, and L1 lexicon was assessed through the Peabody test. Results show significantly higher recall for animate concepts, while no difference in recall was found in relation to input source (words in songs vs. stories) or L1 lexicon size. Results also stress the need for a possibly higher number of encounters than that normally found for adults in order to achieve significant recall.