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Cette étude a pour objectif, de mettre en exergue, les perceptions des groupes chanteurs : les maitrises religieuses dans le grand archidiocèse d’Abidjan. Les terrains à partir desquels les données ont été relevées, sont le Diocèse d’Abidjan le diocèse Grand-Bassam, celui d’Agboville, et enfin celui de Yopougon. Pour ce faire, nous avons pris en compte un guide d’entretiens auprès d’éventuels différents acteurs que sont les choristes et les instances religieuses de ces maitrises. Les résultats exposent en clair sur les données positives des membres des différentes maitrises susmentionnées. Ceux-ci révèlent leurs perceptions sur lesdites Maitrises. Au demeurant, ces Maitrises jouent un rôle fondamental tant au niveau des membres que des fidèles au sein de leur groupe spécifique.

Recital was, and is, an essential part of Buddhist textual transmission. Recently, the role of repetition as a literary feature has been discussed as a key element in the construction and final composition of the texts. This article contributes to the discussion through a literary analysis of the role of repetition and recital in two suttas of the Dīghanikāya. With examination of two key repeat passages and the way each is presented, it demonstrates that repetition in each sutta discussed forms a key function, crucially dependent on what one might term a literary, or an experiential, effect. The suttas were intended to be heard; long suttas were, and often still are, performative, listened to over sometimes several hours, embedded in rituals designed to highlight their efficacy. This article shows that the recital of key repeat passages within the long suttas is linked to specific and often distinctive literary and meditative effects, particularly adapted for oral performance. It suggests that such passages should not be marginalized but rather seen as central indicators of meaning. [ABSTRACT FROM AUTHOR]

The Old Hispanic liturgy for Córdoban saints Faustus, Januarius, and Martialis associates the martyrs with the three men thrown into the fiery furnace (Daniel 3). This article explores the compilation choices and musical strategies that establish this biblical parallel, their possible motivations, and how a liturgy emphasizing these biblical heroes would have been received by the community that used it. The chants and prayers for Faustus, Januarius, and Martialis are borrowed from the liturgy for another trio of Iberian saints (Fructuosus, Augurius, and Eulogius), and I argue that these chants may have been selected to capitalize on the layers of cultural associations that had accrued to Daniel 3. Contemporary biblical illuminations, illustrated Beatus Apocalypse commentaries, and anti-Islamic polemics alike emphasize the Babylonian location of the three men in the furnace. In anti-Islamic polemic, Babylon becomes Córdoba, the capital of the Umayyad caliphate. These textual and artistic traditions were prominent at the monastery of San Millán de la Cogolla, the presumed origin of the earliest witness to the surviving liturgy for Faustus, Januarius, and Martialis. After newly identifying anti-Islamic polemical aspects of the saints’ passio, I propose that the choice to highlight Daniel 3 in Faustus, Januarius, and Martialis’s liturgy emphasized the saints’ Córdoban origin and inscribed their story within the contemporary contexts of Muslim-Christian relationships. [ABSTRACT FROM AUTHOR]

The expression of theology by means of music in the Orthodox Church is something that has been discussed and regulated since the Patristic era, which itself takes as its basis the Psalms and the Gospels. The way in which this expression has been achieved practically, however, has varied considerably over the course of history, as the following survey shows; and questions of the relationship between personal creativity and dogmatic theology are still being asked today by hymnographers, composers, and other musicians whose work is orientated to a greater or lesser extent by the spirituality of the Orthodox Church. This article begins with a brief consideration of the scriptural background (focused on the New Testament) before introducing music in the thought of the church fathers. The entry goes on to elaborate the style and practice of liturgical music in the Orthodox tradition before turning to questions of developing a theology of music, focusing on the Orthodox chant. Attention is then given to a theological consideration of the liturgical texts themselves. Subsequent sections delve into related concepts of hesychasm (quietude) and the icon, asking how they may shed light on a theological understanding of music and chant. The article closes by situating Orthodox liturgical music within the broader discussion of theology and the arts in Eastern Christianity.

Border Cantos (2016), a collaboration between experimental composer Guillermo Galindo and photographer Richard Misrach, delves into the multisensory narratives of migration along the US-Mexico border. Misrach's photographs capture the landscapes and traces of bodies crossing the border and their arduous journeys. In parallel, Galindo transforms artifacts and debris from the border into sound objects, creating compositions that echo and reinterpret the experiences of migrants. The chants, rhythms, and visual narratives of this work deeply resonate with the stories of those crossing the border in search of safety, opportunities, or reconnection with their loved ones. In this article, my analysis focuses on the complex interplay between sound and image in Border Cantos, contextualizing it within the broad landscape of Latin American artistic expressions. I highlight the role of singing in reference to the Mexican cantares and Ezra Pound's Cantos as a living archive that captures and transmits alternative narratives. I analyze the canto as a transformative medium, seeing it not just as repetition but as a continuous and amplified rhythm of breath. I argue that Border Cantos and its nuanced representation of singing expand our understanding of migration stories, our notions of artistic expression, and archival imaginations. [ABSTRACT FROM AUTHOR]

Copyright of Centre: Journal of Arabic Studies / Al-Markaz: Majallat al-Dirāsāt al-ʿArabiyya is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The medieval cult of Ste Foy inspired several sets of liturgical chants, or historiae, including at least two that were probably made for use at Conques in the early eleventh century. Whilst it is widely understood that historia chants belonged within the liturgy of the Divine Office, this article explores the significance of two lesser-known parameters in their performance: their use during the nocturnal hours, above all during the lengthy service known as the Night Office, and their use alongside various modes of sensory augmentation that were employed on major feast days. By exploring these parameters as they might have applied to the medieval Abbey of Conques in the context of Ste Foy's feast—using sources from Fleury and Saint-Bénigne, Dijon, wherever local evidence is lacking—the article draws attention to the ways in which historiae intersected with non-verbal modes of creativity within the performative frame of the Office liturgy. Ultimately, it argues for a more consciously multidisciplinary approach to this historically 'musical' genre. [ABSTRACT FROM AUTHOR]

Andrew Hughes' Late Medieval Liturgical Offices afforded chant scholarship more melodies than it knew what to do with. Until now, chant scholarship involving 'Big Data' usually meant comparing individual feasts to the whole corpus or looking at general trends with respect to 'word painting' or stereotyped cadences. New research presented here, using n-gram analysis, networks, and Recurrent Neural Networks (RNN) looks to the nature of the gestural components of the melodies themselves. By isolating the notes preceding, and proceeding from, the naturally occurring semitones in the medieval church modes, we find significant recurrence of particular phrases, or riffs, which we propose could have been used to help 'build modes' from the inside out. Special care needed to be brought to the question of assumed B-flats that were not given explicitly in the manuscripts represented in Hughes' work. Understanding modes not as 'scales' but as a collection of associated smaller musical gestures, has resulted in a set of recurring riffs that appear as the identifiers of their larger contexts and confirming the influence of an earlier, oral / aural culture on these late medieval chants where musical literacy was expected.

The paper raises a question whether it is appropriate to assess Middle-aged Proglas as a poem consisting of a certain number of lines regardless of typological features of a Middle-aged piece of writing as such. The genre classification of Proglas requires revealing the earliest version in the preserved manuscripts and its purpose including the examination of its original title. With regard to the critical chronological comparison of manuscript copies in Old Church Slavic, identical and different parts of the translations into Slovak are examined, especially the one made by Ján Stanislav as opposed to those done by other translators. Key words: prologue, hymn, chant, Middle-aged poetics, protograph, textura in continuo, authenticity of the biblical text.

Copyright of Turkish Journal of Religious Education Studies / Türkiye Din Eğitimi Araştırmaları Dergisi is the property of Turkish Journal of Religious Education Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Much is known about processions within the Roman liturgy. However, processions of the Old Hispanic rite practiced in most of Christian Iberia until c. 1080 have been barely studied. Manuscripts from the Old hispanic rite preserve rubrics that explicitly show features and context for such processions. These processions happened around or during Mass (for example, on Palm Sunday), at the end of Vespers or Matutinum (for example, the consecration of a basilica), or even outside the usual daily liturgy (for example, votive ordos). In this article, we have collated all the rubrics pertaining to liturgical movement that were copied in the extant Old Hispanic manuscrits. Some of these unquestionably refer to processions, while others describe ceremonies that might better be described more informally as «liturgy in motion». In particular, we have focused on the processional rubrics, while also engaging with other movements as part of the liturgy. Additionally, in this article we identify the chant genres associated with processions and outline the processional practices attested in the rubrics. [ABSTRACT FROM AUTHOR]

Using the evidence of Aquitanian chants, this article explores the possibility that a twelfth-century relief panel of the Annunciation today in the interior of Conques was originally designed for the West facade, where it completes the composition of the divine plan of Salvation. This hypothetic reconstruction also uncovers the important role of the patron saint, Sainte-Foy, and how she is promoted as second after Mary and efficacious intercessor. [ABSTRACT FROM AUTHOR]

For four hundred years, the zikir ritual has been performed weekly in Kadirîhâne in Istanbul. Sufi rituals are believed to have been compiled by the founder (pîr) of the order. The ritual conductor (şeyh, postnişin) symbolizes the founder. The ritual form consists of chanting (dhikr) several divine names (esmâ). While participants perform the divine names with drone-like melodic repetitions or guttural rhythmic ostinatos, musicians perform songs, recitations, and improvisations. Through rhythmic enunciation, body sway, and breath control, these chants are embodied as ostinatos while music varies the mood. The ostinato polyphony between the derviş and zakir, as well as the succession of the divine names symbolizes unity (tevhid) in different ways. The manners and the formality of the ritual (ethics) and their musical expressions (aesthetics) implies harmony that leads to communal and/or individual unity. This article examines the form and content of the ritual, and shows their relation to Sufi concepts. [ABSTRACT FROM AUTHOR]

Résumé : Chez les kyaman, il est déterminé un certain nombre de compositions artistiques musicales. Ces compositions regorgent en leurs seins, des figures de silences, auxquelles ce peuple accorde une importance particulière. Ces figures de silences, selon le cas, se retrouvent dans nombre de genres musicaux issus de ce terroir. Elles sont présente dans leurs chants locaux et assurent par la même occasion ou encore, expriment un certain état d’âme dans cette communauté. Ces figures usitées dans ces différentes formes de musiques, sont d’une manière ou d’une autre, l’expression d’un type de notions sociales. Ces figures de silences jouissent d’une importance prépondérante ou encore capitale dans les diverses compositions artistiques musicales de cet univers kyaman.

The medieval cult of Ste Foy inspired several sets of liturgical chants, or historiae, including at least two that were probably made for use at Conques in the early eleventh century. Whilst it is widely understood that historia chants belonged within the liturgy of the Divine Office, this article explores the significance of two lesser-known parameters in their performance: their use during the nocturnal hours, above all during the lengthy service known as the Night Office, and their use alongside various modes of sensory augmentation that were employed on major feast days. By exploring these parameters as they might have applied to the medieval Abbey of Conques in the context of Ste Foy’s feast—using sources from Fleury and Saint-Bénigne, Dijon, wherever local evidence is lacking—the article draws attention to the ways in which historiae intersected with non-verbal modes of creativity within the performative frame of the Office liturgy. Ultimately, it argues for a more consciously multidisciplinary approach to this historically ‘musical’ genre.

The purpose of the work is to trace the genesis of the aria typology and its inherent expressiveness of aria singing in its pre- and non-opera existence, comparing relevant materials from the history of the genre in Europe and China. As a methodological basis, we put forward the intonation approach of B. Asafyev's school in Ukraine, as it developed in the works of O. Markova, O. Muravska, Liu Bing Jiang, with emphasis on hermeneutic and stylistic-comparative analysis. The scientific novelty of the study is caused by the historical novelty of emphasising symbolic and religious beginnings in culture and art, which was traditionally ignored in the classical for Europe period of New time, as well as by the fact that, for the first time in Ukrainian and Chinese musicology, about hymnographic and song-chant forming of syncretism are put in logical chain of receivership information, from which an aria was born in the 12th-13th centuries in China and the 15th-16th centuries in Europe, which was later absorbed into the opera at the level of an essential component of the composition. Conclusion. The culture of the aria as a finished expressive quality and arias as a type of singing developed into the spiritual activity in the diametrically opposed cultural formations of China and Europe. They are historically connected by their appearance only in them in the planetary scope of the operatic action by its singing saturation from the beginning to the end of the performance. For China, the concept of forming an aria from the ritual syncretism of a hymnsong-aria is proven. For the European thinking, the awareness of the aria as a derivative of the Byzantine hymnography and liturgical-canto song with vocality inseparable from it was the achievement of musicological developments of the last decades. The adoption of such a concept, developed in the presented work, significantly corrects the “generic emphasis” of the expressiveness of the aria, traditionally considered in the context of the specifics of the operatic action. [ABSTRACT FROM AUTHOR]

Copyright of FLAMME is the property of Universite de Limoges and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of FLAMME is the property of Universite de Limoges and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Carnets: Revue Electronique d'Etudes Françaises / Revista Electrónica de Estudos Franceses is the property of Associacao Portuguesa de Estudos Franceses (APEF) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Semiotica is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Like the unconscious, because it has many different readings, a poem cannot be read in one way and be given a definitive interpretation. In a moment, the poem ends the "tyranny of the intellect." In the first of three articles, to be published consecutively, the author responds to the question posed by W. R. Bion, "What kind of poets and artists can we [psychoanalysts] be?". In responding to this question, the author examines the usefulness of considering the psychoanalytic session as a poem, with each session a draft in the making. She proposes that Robert Frost's notion of the "sound of sense, as the abstract vitality of our speech" offers psychoanalysis a way to differentiate in the psychoanalytic session "voice" from "language." Through Frost's poems, the author shows that the semiotic of prosody travels with the "voice," that sounds precedes sense. The author's line of reasoning is that the poet's art is not unknown to the analyst who, with the patient, fashions the sound of sense and its rhythms, in dreams, desires, and love and hate--that is, the libidinal affair of the psychoanalytic session where the vitality of our expressiveness circulates. [ABSTRACT FROM AUTHOR]

An item included within the collection of manuscript leaves known as Ghent, University Library, MS BHSL.HS.3020 can now be identified as a fragment of the sole surviving English Carthusian antiphonal, and the third extant historiated English antiphonal. Specific features of the chant identify the use as Carthusian, and the illumination localizes the antiphonal's production to London in the early Tudor period, making it likely that the volume was made for the London Charterhouse. [ABSTRACT FROM AUTHOR]

Eight melodies, one for each of the ecclesiastical modes, are given as optional additions to responsories and other chants in the 14th-century Speculum musicae of Jacobus of Liège. The melodies have paired phrases resembling those of contemporaneous dance music. The paucity of surviving melodies of this sort, and their almost exclusive association with secular music, make this series particularly fascinating. [ABSTRACT FROM AUTHOR]

The goal of the work. Codicological and musical-stylistic analysis of musical sources of different types of Ukrainian musical creativity of the Baroque period of the 17th - first half of the 18th century (church monody, partes works, chants, school drama with music) from the standpoint of integrity with the establishment of similarities and differences, as well as the links between them, which allows to understand properly the leading trends in contemporary music culture. Methodology. To study the sources of musical creativity of the Baroque period, a comprehensive approach was used, as well as source studies, historical, stylistic and comparative methods to study the sources of different types of musical creativity. Scientific novelty. Consideration of codicological and musical-stylistic features of Ukrainian written sources of different types of musical creativity of the Baroque period from the standpoint of integrity showed the presence of typological and common features and differences, as well as links between them. It has been established that in the Baroque period, religious and Christian themes dominated in written music, which is evidence of the significant role of Christian values for Ukrainian society at that time. It is determined that the interpretation of Christian themes took place differently. The revealed differences between different types of creativity showed evolutionary processes in the creation of codes of sources, in the use of various verbal texts in musical creativity (hymnography, syllabic poetry), in the correlation of word and music and in the musical-stylistic system. The combination of medieval traditions with baroque style innovations in musical creativity is revealed, as well as its three levels are characterized - "high", "middle" and "lower". [ABSTRACT FROM AUTHOR]

Copyright of Topiques, Études Satoriennes is the property of Topiques, Études Satoriennes, Journal of the SATOR (Société d'Analyse la Topique Romanesque) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Topiques, Études Satoriennes is the property of Topiques, Études Satoriennes, Journal of the SATOR (Société d'Analyse la Topique Romanesque) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Topiques, Études Satoriennes is the property of Topiques, Études Satoriennes, Journal of the SATOR (Société d'Analyse la Topique Romanesque) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La production orale est l’une des activités les plus importantes dans l’apprentissage du FLE. Nous avons choisi d’exploiter un support didactique que nous maîtrisons qu’est le chant pour améliorer la qualité de diction des apprenants. Notre objectif est de voir comment ce support pourrait-il développer leur motivation et leur capacité de mémorisation et par conséquent remédier à leurs difficultés phonétiques.

With the emergence of the legend of Saint Blaise, who protected the people of Dubrovnik against the Venetian menace, the city of Dubrovnik has been continuously organizing a feast in Saint Blaise’s honour on the 3rd of February of each year. In addition to the social importance of this event, it also emphasizes musical activity as the daily Liturgy of the Hour is modified to fi t the festivity and enriched with musical instruments which accompany the main services. In this article, we will travel back to the feast of 1588, where Serafino Razzi – a Dominican friar on a two-year canonical visitation to Dubrovnik – witnessed the festivity. What did Razzi have a possibility of hearing at that time in Dubrovnik, were there performing forces to support the festivity, and what did the liturgy look like on the 2nd and 3rd of February 1588 are the main questions this paper will address through thorough an analysis of Razzi’s account, its comparison with other performances in European citystates, and extensive use of available sources.

Le présent article revient sur l’historique de l’atelier Trad. Cant. Flam., le corpus qui constitue son objet d’étude et l’avancement des travaux pendant l’hiver 2021-2022. Cet atelier se réunit à distance depuis 2019 afin de traduire en français les cantes de la Antología del cante flamenco de Perico el del Lunar enregistrés par Hispavox pour la première fois en 1954, et réédités ultérieurement par le même label. À ce jour, quatre traductions ont été réalisées et approuvées suite à une collaboration entre chercheurs et artistes, qui ont testé la chantabilité des versions obtenues. Ces enregistrements assortis de transcriptions en espagnol et en français ne constituent que l’une des étapes d’un travail en cours, ouvert à de futures collaborations.

Le cinéaste espagnol Carlos Saura, connu d’abord pour ses films de la période franquiste, l’est aujourd’hui pour son cinéma musical. Il a contribué à faire entrer le flamenco dans la modernité, en impulsant dans les années 1990 une nouvelle écriture flamenca avec danseurs, musiciens et chanteurs qui, tout en s’appropriant les codes du flamenco traditionnel, incarnent une nouvelle génération libérée des carcans de l’académisme. En portant à l’écran la danse et le chant flamenco, Saura contribue, par la mise en scène et la photographie, à en accentuer la beauté et la puissance poétique. Il fait ainsi participer les spectateurs au duende, ce pur moment de grâce qui est une communion toujours imprévisible et éphémère entre les interprètes et le public, une notion singulière, intraduisible et si caractéristique de l’art flamenco.

Using the evidence of Aquitanian chants, this article explores the possibility that a twelfth-century relief panel of the Annunciation today in the interior of Conques was originally designed for the West facade, where it completes the composition of the divine plan of Salvation. This hypothetic reconstruction also uncovers the important role of the patron saint, Sainte-Foy, and how she is promoted as second after Mary and efficacious intercessor.

Andrew Hughes’ Late Medieval Liturgical Offices afforded chant scholarship more melodies than it knew what to do with. Until now, chant scholarship involving ‘Big Data’ usually meant comparing individual feasts to the whole corpus or looking at general trends with respect to ‘word painting’ or stereotyped cadences. New research presented here, using n-gram analysis, networks, and Recurrent Neural Networks (RNN) looks to the nature of the gestural components of the melodies themselves. By isolating the notes preceding, and proceeding from, the naturally occurring semitones in the medieval church modes, we find significant recurrence of particular phrases, or riffs, which we propose could have been used to help ‘build modes’ from the inside out. Special care needed to be brought to the question of assumed B-flats that were not given explicitly in the manuscripts represented in Hughes’ work. Understanding modes not as ‘scales’ but as a collection of associated smaller musical gestures, has resulted in a set of recurring riffs that appear as the identifiers of their larger contexts and confirming the influence of an earlier, oral / aural culture on these late medieval chants where musical literacy was expected. [ABSTRACT FROM AUTHOR]

In 1986, a Franco-Israeli team of scholars set out to document the liturgy of the Beta ʾƎsrāʾel, a group of Ethiopian Jews which at the time was in the process of making aliyah under dramatic circumstances. The scholars gathered a group of priests in Israel and produced an impressive corpus of recordings, covering important parts of the liturgical tradition. Over the past decades, the team has been publishing their results in a number of articles and monographs, and in 2019 presented a selection of recordings in the form of a CD box. The box contains three CDs plus a bilingual booklet with information about the liturgical tradition of the Beta ʾƎsrāʾel: their music, prayers, and ritual practices. In this review article, the research results presented in the booklet are evaluated, with special attention paid to the effects that migration has had on the Beta ʾƎsrāʾel liturgical tradition.

Dongba and Daba chants represent two of the few oral traditions still surviving in the world. In both traditions, the main category of formulaic expressions consists of traditional noun-epithets describing spirits. Dongba and Daba spirits can be classified into five categories, of which the noun-epithets used to describe them share similar features. Another significant percentage of noun-epithets portray figures of animals. Dongba and Daba chants are both chanted in odd-numbered metric patterns in which noun-epithets are adapted to the metric context. Besides the core expression (often a tetra-syllabic compound), several monosyllabic words not affecting the core meaning may be inserted as optional morphemes to modify the number of syllables in the noun-epithet. This study provides a systematic philological analysis of the vast repertoire of Daba and Dongba noun-epithets. Comparative mythology and comparative linguistics combine to present a comprehensive description of the stylistic features of Daba and Dongba noun-epithets. [ABSTRACT FROM AUTHOR]

The following paper will map the memetic lineage of the football chant that evolved from The White Stripes song 'Seven Nation Army' (2003) and analyse the various adaptations and composite readings it has accrued since its release. In The Selfish Gene (1976), Richard Dawkins proposed that the spread of cultural phenomena follows a comparable process to genetic reproduction. The term Dawkins uses to describe these cultural 'genes' is 'memes' and one of the examples he gives are melodies (1976, 192). The simple and memorable seven note progression which forms the central riff of 'Seven Nation Army' has proved to be extraordinarily successful in terms of memetic transmission. It first appeared as a terrace chant in Europe, but spread to the UK as football supporters adapted it to match their team colours and players' names. The guitar riff was also remixed, looped and used as the official goal song for the UEFA European Cup in 2016. In the summer of 2017 the chant took on a political dimension. Following a speech by Jeremy Corbyn at the Wirral Music festival, the crowd sang the labour leader's name to the tune. This then spread to other music festivals, most notably Glastonbury where the chanting crowds received extensive media coverage. This paper will explore the propagation and adaptation of this musical meme. It will align the meme's lineage with an exploration of the sociological and performative factors that inform terrace chants, and identify how these traditions and conventions influenced the various manifestations that permeated through popular culture. From a musicological perspective it will consider what it is about these seven notes that gives the meme such versatility and identify how changes to the content and context of the chant alter its function and meaning. [ABSTRACT FROM AUTHOR]

Background: Despite improved immunological and viral load control, the prevalence of HIV/AIDS-related peripheral neuropathy among survivors on highly active antiretroviral therapy (HAART) is rising globally raising public health concerns. Objectives: To determine the prevalence and clinical characteristics of peripheral neuropathy amongst persons on HAART attending Comprehensive Care Clinics in Busia County, Kenya. Method: This cross-sectional descriptive quantitative study utilised purposive sampling and included 289 adults living with HIV/AIDS. Data collection was undertaken using the Clinical HIV Associated Neuropathy Tool (CHANT) and analysed using the Statistical Package for the Social Sciences version 25.0. Results: Of people on HAART, 68.17% (197 amongst 289) had peripheral neuropathy. The majority were female 76.8% (n = 222), 38.1% (n = 110) were between 41 and 50, and 35% (n = 101) were widowed. The most common primary symptom was reduced right foot big toe vibration (76.8%, n = 222). There was a strong positive relationship (r = 0.621, P = 0.000) between foot vibration and illness. There was a statistically significant influence of demographic characteristics of persons on HAART on PN as they accounted for 98.5% of the variance (R2 = 0.985). Conclusion: Peripheral neuropathy is prevalent and is significantly influenced by socio-demographic characteristics of persons on HAART-PN. Early diagnosis and exercise guidance by physiotherapists is key in forestalling severe symptoms, disability and poor quality of life. Clinical implications: There is need to screen persons living with HIV on HAART for PN to establish their medical, physiotherapy and rehabilitation needs. Early diagnosis will encourage healthcare workers to start interventions to prevent progression of impairment, onset of disability and decrease in quality of life. Therefore, adaptation of PN screening tools and physiotherapeutic interventions should be considered.

Cet article consacré aux dramaturgies du cirque en France porte sur deux spectacles récents créés sous chapiteau par Pascaline Herveet et le Cirque du Dr Paradi, À dada!!! (2014) et Les Petits Bonnets (2019). Nous proposons d’étudier la façon dont l’autrice, chanteuse et metteure en scène expérimente l’hybridation du cirque avec les autres arts (texte, musique, danse) afin de composer des fictions acrobatiques et circassiennes polymorphes et politiques.

The author first examines the thesis held by Jean-Baptiste Dubos in his Réflexions critiques sur la poésie et la peinture (1719) according to which the ancient Greeks had a musical system for noting declamation. He argues that the real implications of this statement are more aesthetical than philological, for it validates the natural identity between oratory inflexions and musical intonations, an essential component in the classical theory of musical imitation. He then analyzes the refutation by Charles Duclos in his Mémoire sur l'art de partager l'action théâtrale (1747). This remarkable text establishes, for the first time, the real difference between singing and declamation, and deeply questions not only the homology between tones and accents, but the imitative poetics of music as a whole. He then shows how Dubos's thesis is reevaluated and reinterpreted by Etienne Bonnot de Condillac in the Essai sur l'origine des connaissances humaines (1746). For the latter, the ancient's putative musical system for declamation no longer proves music's faculty to imitate speech, but rather that primitive languages had musical aspects, an observation that corroborates his theory of the quasi-musical origins of language. The author finally shows how Rousseau, after Condillac, reformulates the poetical homology in terms of an anthropo-linguistic theory, explaining why the factual question of the existence of a musical notation for declamation does not directly interest the author of the Essai sur l'origine des langues. A musical anthropology, the author argues, has now taken relay over any objective comparison between music and speech, the homology of which is now justified by a genetic, rather than a generic identity. [ABSTRACT FROM AUTHOR]

With the emergence of the legend of Saint Blaise, who protected the people of Dubrovnik against the Venetian menace, the city of Dubrovnik has been continuously organizing a feast in Saint Blaise's honour on the 3rd of February of each year. In addition to the social importance of this event, it also emphasizes musical activity as the daily Liturgy of the Hour is modified to fit the festivity and enriched with musical instruments which accompany the main services. In this article, we will travel back to the feast of 1588, where Serafino Razzi - a Dominican friar on a two-year canonical visitation to Dubrovnik - witnessed the festivity. What did Razzi have a possibility of hearing at that time in Dubrovnik, were there performing forces to support the festivity, and what did the liturgy look like on the 2nd and 3rd of February 1588 are the main questions this paper will address through thorough an analysis of Razzi's account, its comparison with other performances in European citystates, and extensive use of available sources. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Seminare Learned Investigations / Seminare. Poszukiwania naukowe is the property of Francis de Sales Scientific Society / Towarzystwo Naukowe Franciszka Salezego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

SPEECH AND SONG HAVE FREQUENTLY BEEN TREATED as contrasting categories. We here observe a variety of collective activities in which multiple participants utter the same thing at the same time, a behavior we call joint speech. This simple empirical definition serves to single out practices of ritual, protest, and the enactment of identity that span the range from speech to song and allows consideration of the manner in which such activities serve to ground collectives. We consider how the musical elements in joint speech such as rhythm, melody, and instrumentation are related to the context of occurrence and the purposes of the participants. While music and language have been greatly altered by developments in media technologies--from writing to recordings--joint speech has been, and continues to be, an integral part of practices, both formal and informal, from which communities derive their identity. The absence of joint speech from the scientific treatment of language has made language appear as an abstract intellectual and highly individualized activity. Joint speech may act as a corrective to draw our attention back to the voice in context, and the manner in which collective identities are enacted. [ABSTRACT FROM AUTHOR]