Search

Due to the diverse roles that songs play in films and the growing need for movie distribution in various languages and cultures, the challenge of translating film songs from one language to another has become formidable. This research aims to apply the multimodal three-dimensional model proposed by Cui and Wang (2022. Film song translation: Verbal, vocal, and visual dimensions: On the Chinese translation of Amazing Grace in the film Forever Young. Babel 68(4). 565–585) to analyze the Arabic dubbed version of the 2016 film song "The Bare Necessities." The analysis revealed that, verbally, the Arabic dubbed version of the song maintained the gay emotional tone and length but made adaptations to the information, metaphors, and images used in the source. Vocally, similar to the English source song, the Arabic dubbed version did not adhere to 1 m and has a 4/4 time signature, aligning with the catchy melody and reinforcing the song's theme of embracing simplicity and savoring life's essentials effortlessly. Finally, visually, the analysis showed that the Arabic dubbed version matches the plot, characters and background pictures on the screen. The study contributed by incorporating a visual analysis of songs, adding camera elements, namely camera movement and shot size, to gain a better understanding of the scenes under analysis. The use of over-the-shoulder shots created a sense of conversation that complements the duet, and the pan right and left during dancing added a vividness that matches the verbal gay tone and vocal lightness of the song. This finding, considering visual camera elements, can be regarded as a suggested revision to the original multimodal framework introduced by Cui and Wang. Further implications are discussed. [ABSTRACT FROM AUTHOR]

Vividly imagining a song or a melody is a skill that many people accomplish with relatively little effort. However, we are only beginning to understand how the brain represents, holds, and manipulates these musical "thoughts." Here, we decoded perceived and imagined melodies from magnetoencephalography (MEG) brain data (N = 71) to characterize their neural representation. We found that, during perception, auditory regions represent the sensory properties of individual sounds. In contrast, a widespread network including fronto-parietal cortex, hippocampus, basal nuclei, and sensorimotor regions hold the melody as an abstract unit during both perception and imagination. Furthermore, the mental manipulation of a melody systematically changes its neural representation, reflecting volitional control of auditory images. Our work sheds light on the nature and dynamics of auditory representations, informing future research on neural decoding of auditory imagination. How does the brain process musical thoughts? This study shows that the mental manipulation of a melody systematically changes its neural representation in auditory, association, sensorimotor and subcortical areas, reflecting volitional control of auditory images. [ABSTRACT FROM AUTHOR]

Kurdish music has many important transformations, including the liberation of Kurdish singing from the tarab sensuality on the one hand, the modernization of oriental music with Western classical musical instruments on the other hand, and then the enrichment of melodic and vocal writing with advanced musical sciences represented by the use of counterpoint, which led to the development of oriental music composition methods in terms of aesthetics and expression, which sought these methods, which began from the eighties (1980s) of the twentieth century to our current reality in the development of counterpoint techniques in polyphony Texture. Hence, the researchers believe that there are many experiences of Kurdish musicians in employing folkloric and folk heritage songs by treating their melodies in a contemporary musical way, i.e. by introducing polyphony (counterpoint and harmony) and diversifying in the instrumental distribution. The research aims to show the role and use of counterpoint in Kurdish orchestral compositions. It is an important part of the development and diversification of contemporary Kurdish music, in general and shows how Dilshad Mohamed Said's counterpoint is used in his Kurdish orchestral compositions. The use of counterpoint in Kurdish orchestral compositions is an endeavor to achieve serious scientific and systematic steps in the field of artistic expression and vocal diversity, which enhances Kurdish musical culture to reach the global level. [ABSTRACT FROM AUTHOR]

Compared to other types of musical art, the unity of three components - composer creativity, performance and education - in choral practice is the most deterministic. A vivid example of this is the choral art of China, each direction of which has its own characteristic features, peculiar ways of development, vectors of application determined by certain historical and socio-cultural factors, but in general they appear as an inseparable organic alloy. The purpose of the article is to highlight the trinity of composer creativity, performance and education as determinants of the development of choral art in China. The research methodology is based on a comprehensive approach based on historical-cultural, comparative, music-theoretical analysis of the material and theoretical modelling of the structural-logical and substantive characteristics of choral activity. The scientific novelty of the article lies in the fact that the trinity of composer creativity, performance and choral art education in China is considered for the first time as an immanent quality determined by historical development. Conclusions. Since the beginning of the 20th century, Chinese choral culture has been actively assimilating compositional, performing, and educational traditions of a foreign, mostly European, model. In the first half of the century, this was especially evident in the work of composers. Choirs by Chinese composers created in this period are based on the melody of patriotic songs in an organic synthesis with European writing techniques (including polyphonic). In the second half of the 20th century, the emphasis shifted towards performance, which was determined by the socio-political involvement of art, when choral work was a tool of political propaganda. At the end of the 20th and the beginning of the 21st century, choral art in China becomes independent, specialised educational institutions are opened in the country, where the training of conducting and choral personnel is carried out. At each stage, each branch of choral art in China had its own characteristics, development trajectory, vectors of application. In general, separate components - composer creativity, performing and educational activities become an inseparable whole during the entire development. This determinism of Chinese choral culture ensured its successful development in the 20th and early 21st centuries. [ABSTRACT FROM AUTHOR]

Copyright of Amme Idaresi Dergisi is the property of Public Administration Institute for Turkey & the Middle East (TODAIE) 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.)

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a "musi-linguistic" continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of crosscultural regularities in music and speech. [ABSTRACT FROM AUTHOR]

USING MELODIC RECALL PARADIGM DATA, WE describe an algorithmic approach to assessing melodic learning across multiple attempts. In a first simulation experiment, we reason for using similarity measures to assess melodic recall performance over previously utilized accuracy-based measures. In Experiment 2, with up to six attempts per melody, 31 participants sang back 28 melodies (length 15-48 notes) presented either as a piano sound or a vocal audio excerpt from real pop songs. Our analysis aimed to predict the similarity between the target melody and participants' sung recalls across successive attempts. Similarity was measured with different algorithmic measures reflecting various structural (e.g., tonality, intervallic) aspects of melodies and overall similarity. However, previous melodic recall research mentioned, but did not model, that the length of the sung recalls tends to increase across attempts, alongside overall performance. Consequently, we modeled how the attempt length changes alongside similarity to meet this omission in the literature. In a mediation analysis, we find that a target melody's length, but not other melodic features, is the main predictor of similarity via the attempt length. We conclude that sheer length constraints appear to be the main factor when learning melodies long enough to require several attempts to recall. Analytical features of melodic structure may be more important for shorter melodies, or with stimulus sets that are structurally more diverse than those found in the sample of pop songs used in this study. [ABSTRACT FROM AUTHOR]

Political song, especially that which fits new words to existing melodies' semiotic associations, has been used by Americans as an oppositional tool throughout the history of the United States. Activists employed tunes' "virality" to disseminate political stances and these practices played a key role in the rise of the modern labor movement. This article traces that history, through a succession of contextualized examples linking nineteenth-century political song to contemporary activism. [ABSTRACT FROM AUTHOR]

Whereas writings on African melodies have addressed their structures, shapes and forms, the way characteristic traits such as cadential practices aid to nuance the musics of different ethnolinguistic groups remains largely undocumented. Relying on Ogu songs, this article argues that there are group-specific stylistic practices that nuance the melodies of West African peoples. It examines ten songs selected from bands in Badagry (Lagos State, Nigeria), in the public domain, and the work of two iconic Ogu musicians from the Republic of Benin. The analyses reveal that Ogu melodies often display two important focal tones that share different aspects of 'tonic function' between them: an important tonal centre, and the primary resting note which assumes the status of a concluding tone at cadences. This and other stylistic characteristics and conventions could signal Ogu sensibilities in songs. These findings engage and extend previous descriptions of West African melodies by Kubik (1968), Ekwueme (1980), Kwami (1992) and Agawu (2016). The article concludes that there is a need to devote attention to the specifics of all musical practices in Africa, since artistic nuances on the continent could be glossed over when focusing only on regionally dominant practices. [ABSTRACT FROM AUTHOR]

The present study assesses the effect of a three-session classroom-based training program involving singing songs with familiar melodies on second-language pronunciation and vocabulary learning. Ninety-five adolescent Chinese ESL learners (M = 14.04 years) were assigned to one of two groups. Participants learned the lyrics in English of three songs whose melodies were familiar to them either by singing or reciting the lyrics, following a native English singer/instructor. Before and after training, participants performed two vocabulary tasks (picture-naming and word meaning recall tasks) and two pronunciation tasks (word and sentence oral-reading tasks). The results revealed that although both groups showed gains in vocabulary and pronunciation after training, the singing group outperformed the speech group. These findings support the value of using songs with familiar melodies to teach second languages at the early stages of learning in an ESL classroom context. [ABSTRACT FROM AUTHOR]

The song entitled Dziękujemy Ci Ojcze nasz (We thank Thee, our Father) has its textual origin in an ancient document from the first centuries, entitled Didache tu Kyriu dia ton dodeka apostolon tois ethnesin. The document has the character of church instructions, raising various topics and presenting them in the form of commands and guidelines in moral, legal, ascetic and liturgical matters. In our research, we focused our attention on three points in the Didache (9-10 and 14), which describe the celebration of the Eucharist. It's about thanksgiving to God for the Eucharist, life, faith and eternal life, and a request for the community of the Church and God's help on the way to unity with God for eternity. The text and melody of the analyzed song were written by Fr. Kazimierz Pasionek in the 1960s. The exact date is unknown. Certainly, it happened before 1968, because that year during the solemn Holy Mass on the occasion of the 25th anniversary of the priesthood of Bishop Jerzy Ablewicz, the combined choirs - clerical and cathedral - performed under the direction of the composer himself after Holy Communion Eucharistic Prayer according to the text of the Didache. The presented song is an important example of the implementation of the postulates of Vatican II, i.e. a return to patristic sources, reaching for ancient texts. It was done by Fr. Pasionek and many composers of the 21st century do the same, using texts imbued with the beautiful theology of the Eucharist, christology and ecclesiology. [ABSTRACT FROM AUTHOR]

Copyright of Amazonia Investiga is the property of PRIMMATE 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 article from Equine Veterinary Practitioner discusses the power of music in conveying the human toll of war, specifically through John Prine's song "Sam Stone." The song reflects on the struggles of a Vietnam War veteran, highlighting the physical, mental, and spiritual costs of conflict. Personal anecdotes from listeners underscore the emotional impact of the song, emphasizing the need for support for returning servicemen and women. The lyrics of "Sam Stone" poignantly capture the tragic aftermath of war, offering a somber reflection on its consequences. [Extracted from the article]

Melodic progression is one of the most essential elements of the "Mode" definition in Iranian and Arabic-Turkish music. There is a distinctive manifestation of this concept in Persian classical music due to the distinctive features of Dastgâh. This article aims to trace some continuities in the concept of melodic progression, reaching from the earliest medieval treatises, through the Safavid period, and into the modern era, when the Dastgâh became dominant. In this musical system the concept of melodic progression has recently been termed Seyir-e Naghmegi, where Seyir is used as an acronym for that concept. The purpose of this study is to explore the role and position of Seyir within the Dastgâhi system. So this study's problems are: Due to the multi-layered structure of the Dastgâh, how many levels is the concept of Seyir defined? How are the different levels of the Seyir concept related to each other? The recent reports on Seyir in the literature on the subject, from the micro to macro levels, have been discussed separately. Thus, the purpose of the study was to come to a conclusion by describing different repertoire narrations and deductive reasoning in order to draw a conclusion. Using a descriptive-analytic approach, the article collected written information as library studies and discussed it. Manuscripts and treatises are also studied using the historical method. According to this study, the Seyir concept appears at three levels, each of which is independent, coherent, and contiguous. According to the article, the following three levels have been identified: Micro level: Gūsheh, Middle level: Âvâz, Macro level: Dastgâh. This study demonstrates that Seyir, as an abstract concept in a modal structure, does not define "melody" in any exact sense, thus forcing the melody to conform to the exact expression of the mode. The concept of Seyir in a Dastgâhi system, as a framework that is closed in the dimensions of seven Dastgâh-hâ and five or with a grace of six Âvâz-hâ, offers the possibility of endogenizing new modes on previously used platforms within the system. While the use of different permutations of the tetrachords and pentachords gives "98 Circles" the concept of Seyir can create infinite modes. In short, the Seyir in its general and common sense in the Iranian and Arabic-Turkish field refers to a set of modal aesthetic criteria that provides the basis for transforming mode into a definite and tangible form. As Seyir progresses from abstraction (sound scale) to determination (melody), it incorporates concepts such as melodic figures. In this regard, Seyir's ability to organize new modes on a mutual scale with existing modes is expanded. [ABSTRACT FROM AUTHOR]

Since antiquity, the concept of melody has been related not only to music, but also to language, specifically poetic language. However, while melodic properties of music were already mathematically defined more than 2,000 years ago, melodic properties of poems have remained fairly elusive to date. Proceeding from the assumption that fundamental melodic properties should in both domains be measurable in terms of recurrent time series of pitch and duration values, we administered two statistical measures—(a) autocorrelation coefficients and (b) spectral exponents—that both allow to quantify the relevant degrees of recurrence for recited poems and their sung versions alike. In a naturalistic concert event, 11 poems were recited, their musical settings sung, and aesthetically evaluative as well as emotion ratings collected from the audience. Correlating the autocorrelation coefficients and the spectral exponents with the subjective ratings revealed that the two acoustic measures chosen are predictive, to different strengths and with regard to different aspects, of the subjectively perceived melodiousness for both songs and poems. This approach to melody in songs and poems may also open new venues for empirically comparing melodic properties of speech and music beyond poetry. [ABSTRACT FROM AUTHOR]

Copyright of RAST Musicology Journal / Rast Muzikoloji Dergisi is the property of RAST Musicology Journal 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.)

This paper presents a methodology for generating cross-harmonizations of jazz standards, i.e., for harmonizing the melody of a jazz standard (Song A) with the harmonic context of another (Song B). Specifically, the melody of Song A, along with the chords that start and end its sections (chord constraints), are used as a basis for generating new harmonizations with chords and chord transitions taken from Song B. This task involves potential incompatibilities between the components drawn from the two songs that take part in the cross-harmonization. In order to tackle such incompatibilities, two methods are introduced that are integrated in the Hidden Markov Model and the Viterbi algorithm. First, a rudimentary approach to chord grouping is presented that allows interchangeable utilization of chords belonging to the same group, depending on melody compatibility. Then, a "supporting" harmonic space of chords and probabilities is employed, which is learned from the entire dataset of the available jazz standards; this space provides local solutions when there are insurmountable conflicts between the melody and constraints of Song A and the harmonic context of Song B. Statistical and expert evaluation allow an analysis of the methodology, providing valuable insight about future steps. [ABSTRACT FROM AUTHOR]

This research aims to explore the manifestation of the immanenttranscendental relationship between Javanese individuals and their deity within their performance art songs. The analysis focused on Javanese scale settings known as pathet, as well as padhang-ulihan structures, which represent Javanese sentence styles in composition. These elements were examined to understand how the Javanese express their emotions and convey their thoughts to their deity. The data for this study were collected using ethnographic methods, including participant observation, in-depth interviews, and literature studies. The findings indicate that, as immanent beings, humans require symbols to communicate with their deities in the transcendental realm. Javanese people embody their way of life and perspectives on the universe through the melodies and song structures of Karawitan, a form of Javanese musical art. The analysis of pathet and padhang-ulihan reveals that Javanese individuals shape their worldview by selecting and playing pathet in conjunction with the coordinated construction of the padhang-ulihan model within a Karawitan musical notation. [ABSTRACT FROM AUTHOR]

The loss of the genre of Protestant Gregorian chant did not mean the complete disappearance of Gregorian chant from the life of the Protestant churches in Transylvania. Many Gregorian songs and melodies were transferred to later congregational hymnbooks. In places where the religious community demanded it, the singing of the Passion and Lamentation continued. This was the case in several parishes where the Holy Week liturgy were still sung in the 20th century. In most cases, the place, time, and scope of the lecture changed, but it was essentially for the same purpose and, dare we say it, with the same benefit. The research of Gregorian chant, and within it of Protestant Gregorian chant in Hungary and Transylvania, has had a significant result: these vocal movements have begun to be heard live. Partly in their place, in liturgical settings, in churches, and partly in performances, presentations, with a change of function, with the intention of popularization. In the following, without claiming to be exhaustive, I will describe the major Transylvanian Gregorian choirs, whose chant repertoire included Protestant Gregorian chant movements, and the major events in which this liturgical practice was performed. [ABSTRACT FROM AUTHOR]

The materials of Manual Harmony course are a combination of harmony science class materials and basic piano practice class materials. The subject is aimed to train students to play four-part harmony on pianos and accompany a melody using the correct chords. Regarding the lectures, it is necessary to modify the teacher-centered to student-centered method to help students better understand the materials. It is also expected that the studentcentered method will give the students opportunities to explore their skills and express their ideas during classes. The aim of this research was to improve students’ skills in playing fourpart harmony correctly, accompanying songs or melodies with correct chords, building problem solving as well as thinking skills in Harmony Manual class which will benefit them in the future. The researcher implemented qualitative method. The data were obtained from Manual Harmony class at the Undergraduate Program of Music Education FSP ISI Yogyakarta. They were taken from literary studies, observations, and interviews. The data were then analyzed through data reduction, data display, and conclusion drawing. The findings revealed that problem-based learning method was highly effective in teaching Manual Harmony subject. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish 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.)

Bob Dylan at 80: It used to go like that, and now it goes like this: edited by Gary Browning and Constantine Sandis, Exeter, Imprint Academic, 2021, 260 pp., £14.95 (paper) In this fine collection, I Bob Dylan at 80 i , Gary Browning and Constantine Sandis have curated a book which is Janus-faced. I Dylan at 80 i is a remarkable achievement that provides a genuine sense of Dylan's deep creative well, by offering glimpses into the many elements of the cultural archive Dylan has been assembling over the past 60 years. [Extracted from the article]

The purpose of this article is to analyze the intersections between the spaces of deployment of the cultural traditions of the Colombian South Pacific, associated with the heritage of marimba music and the region's traditional songs and dances, and the LGBTQ+ subjects who embody and enact them in their daily lives. How are the particular life experiences of these self-recognized LGBTQ+ subjects articulated with the reproduction and performatization of these cultural traditions? How is this gender diversity strained and negotiated in such spaces? What does the notorious invisibilization of gender diversity in intangible cultural heritage studies tell us? What contributions can queer epistemologies bring to the study of heritage processes? Discussions on gender and sexuality in the field of heritage studies are scarce and reveal a heteronormative reading of the field of studies itself and its specialists. In turn, gender studies have done little to address discussions on sexuality in the field of popular traditions and festivities in Colombia and Latin America. This article is based on an ethnographic methodology applied to fieldwork conducted since 2019 in the municipality of San Andrés de Tumaco (Nariño), prioritizing the analysis of an arrullo, a space of socialization typical of the region's spiritual culture, where these melodies and songs are performed. In general, the findings lead to the conclusion that LGBTQ+ subjects are not necessarily excluded from these spaces; rather, they are places in which community ties, belonging, recognition, and social prestige are disputed and reaffirmed. [ABSTRACT FROM AUTHOR]

The Forum for Church Music publishes an article by Hartmut Naumann on the reharmonization of a well-known chorale. The melody of the song "Von Gott will ich nicht lassen" dates back to the 16th century and was written by Ludwig Helmbold. The article explains various principles of harmonization and techniques that can be applied in the redesign of the song, such as tritone substitution and funk style. It is recommended to consult previous editions of the forum for further information. [Extracted from the article]

This article explores the contentious issue of oral and written transmission in thirteenth-century French song by looking at a selection of early jeux-partis that share their melodies with other songs. It argues that acts of contrafacture were sometimes carried out using written exemplars, or when written transmission was occurring. First, it is asserted that melodic variance could result from both written and oral transmission. Second, evidence for ephemeral written exemplars of jeux-partis and their models is discussed. Finally, it is shown that for one contrafact jeu-parti and its model, some of the melodic variants must have resulted from errors in the process of copying the songs. The melodic variants show that scribes and performers continually engaged with the two songs during their reception, indicating that knowledge of contrafacture persisted several decades after the songs were originally composed. [ABSTRACT FROM AUTHOR]

This study replicates and extends previous research investigating young adults' ability to conserve melody under different harmonic contexts by comparing Chinese listeners (N = 131) with U.S. listeners (Liu, 2018; N = 61). Using identical stimuli and procedures from the original study, participants listened to 34 pairs of melodic examples and identified whether the melody presented was the "same or different." Results indicated Chinese listeners had a well-developed ability to identify the sameness of a melody when it was presented (a) alone, then with harmony (Task I); (b) with harmony, then with different harmony (Task II); and (c) with harmony, then alone (Task III, a reversed task of Task I). Overall, Chinese participants performed significantly better than U.S. participants. Corroborating prior research, music reversibility was also observed among Chinese listeners, as demonstrated by successful responses in two reversed music tasks (Task I and Task III). The performance differences on Task II between listeners with low versus no level of mastering reversibility regardless of country of origin and between Chinese listeners only with a high and a low level of reversibility further support the concept of music reversibility and its role in musical thinking. [ABSTRACT FROM AUTHOR]