Structural and semantic characteristics of music videos, containing a choreographic component

Neophilology ◽  
2020 ◽  
pp. 336-345
Author(s):  
Yuriy E. Plotnitskiy
Keyword(s):  
Music Videos ◽  
Music Video ◽  
Contemporary Dance ◽  
General Description ◽  
Conceptual Information ◽  
Visual Component ◽  
Dance Movements ◽  
Verbal Component ◽  
Song Lyrics ◽  
Conceptual Meaning

The paper studies specific characteristics of the music videos containing a choreographic component. Different viewpoints on the notion of corporality have been analysed and its significance for understanding conceptual and axiological aspects of the song text, as well as specific features of contemporary dance from the angle of its influence on the audience. Further we give a general description of the study material, which includes 20 music videos in different styles. Then the researcher gives detailed analysis of the videos in which the choreographic visual component carries out the function of illustration, symbolically conveys the conceptual meaning of the song lyrics or is in the contrast relations with it. The research has also revealed the cases of visual choreographic component performing the complementary function by way of adding extra semantic aspects to the meaning of the song, as well as the function that can be called “providing a storyline”, where the visual component is characterised by absolute novelty in relation to the verbal component or the song lyrics. Such parameters as correlation between the verbal and the visual components of a music video, functions of the choreographic visual component and the specifics of conveying conceptual information by means of dance movements in a music video have been investigated.

scholarly journals Visual and Verbal Communication in Coldplay’s Music Video Clip “Hymn for the Weekend”

HUMANIS ◽  
2018 ◽  
pp. 729
Author(s):  
Viqi Hanif Putra ◽  
Putu Weddha Savitri ◽  
I Gede Budiasa
Keyword(s):  
Data Analysis ◽  
Visual Communication ◽  
Video Clip ◽  
Verbal Communication ◽  
Music Video ◽  
Note Taking ◽  
Connotative Meaning ◽  
Affective Meaning ◽  
Song Lyrics ◽  
Conceptual Meaning

The title of the study is “Visual and Verbal Communication in Coldplay’s Music Video Clip Hymn for the Weekend”. The study is commonly aimed at finding out the messages from the lyrics of the song music video clip. The data analysis were collected by documentation method and note taking technique by listening to the song and analyzing the meaning of the word in song lyrics based onVisual Communication Elements theory proposed by Dyer (1993) and the theory of meaning by Geoffrey Leech (1974). The findings of the current study show that there are six categories from the visual communication elements including appearance, manner, activity, props, settings, and images, as well as the meaning found in this study were connotative meaning, conceptual meaning, stylistic meaning, and affective meaning.

scholarly journals Visual and Verbal Communication in the Music Video Clip Entitled “Millionaires”

2021 ◽  
Vol 5 (1) ◽  
pp. 55
Author(s):  
Lau Yoseph Anggara Putra Meta ◽  
Sang Ayu Isnu Maharani ◽  
I Made Rajeg
Keyword(s):  
Visual Communication ◽  
Video Clip ◽  
Verbal Communication ◽  
Music Video ◽  
Note Taking ◽  
Connotative Meaning ◽  
Affective Meaning ◽  
Verbal Representation ◽  
Song Lyrics ◽  
Conceptual Meaning

This study is aimed at analyzing the elements of visual and verbal communication and the messages of the song lyrics of millionaires. The data of this study collected intensively through watching the music video clip and note-taking. In analyzing the data this study uses the main theory of principle visual communication elements by Dyer (1993), theory of sign by Goodwin (1992), and theory of meaning proposed by Leech (1974). The findings showed that the use of visuals was found 13 elements are appearance, manner, activity, props, and setting, visual or images. As for verbal communication elements, the finding showed 4 meanings representation: conceptual meaning, connotative meaning, affective meaning, and thematic meaning. Furthermore, there is a correlation between visual signs and verbal representation in the video clip as well as the meaning of the song lyrics.

Viewing music videos: Emotion and viewer interpretation

2002 ◽  
Vol 14 (2) ◽  
pp. 69-79 ◽  
Author(s):  
Joan M. Preston ◽  
Michael Eden
Keyword(s):  
University Students ◽  
Emotional Content ◽  
Music Videos ◽  
Music Video ◽  
Mediating Factors ◽  
Comparative Media

Abstract. Music video (MV) content is frequently measured using researcher descriptions. This study examines subjective or viewers’ notions of sex and violence. 168 university students watched 9 mainstream MVs. Incidence counts of sex and violence involve more mediating factors than ratings. High incidents are associated with older viewers, higher scores for Expressivity, lower scores for Instrumentality, and with video orders beginning with high sex and violence. Ratings of sex and violence are associated with older viewers and lower scores for Instrumentality. For sex MVs, inexperienced viewers reported higher incidents and ratings. Because MVs tend to be sexier but less violent than TV and film, viewers may also use comparative media standards to evaluate emotional content MVs.

scholarly journals Impact of Visual Design Elements and Principles in Human Electroencephalogram Brain Activity Assessed with Spectral Methods and Convolutional Neural Networks

Sensors ◽  
2021 ◽  
Vol 21 (14) ◽  
pp. 4695
Author(s):  
Francisco E. Cabrera ◽  
Pablo Sánchez-Núñez ◽  
Gustavo Vaccaro ◽  
José Ignacio Peláez ◽  
Javier Escudero
Keyword(s):  
Brain Activity ◽  
Music Videos ◽  
Visual Design ◽  
Music Video ◽  
Eeg Signal ◽  
Design Elements ◽  
The Public ◽  
Learning Classifier ◽  
The Mean ◽  
Human Electroencephalogram

The visual design elements and principles (VDEPs) can trigger behavioural changes and emotions in the viewer, but their effects on brain activity are not clearly understood. In this paper, we explore the relationships between brain activity and colour (cold/warm), light (dark/bright), movement (fast/slow), and balance (symmetrical/asymmetrical) VDEPs. We used the public DEAP dataset with the electroencephalogram signals of 32 participants recorded while watching music videos. The characteristic VDEPs for each second of the videos were manually tagged for by a team of two visual communication experts. Results show that variations in the light/value, rhythm/movement, and balance in the music video sequences produce a statistically significant effect over the mean absolute power of the Delta, Theta, Alpha, Beta, and Gamma EEG bands (p < 0.05). Furthermore, we trained a Convolutional Neural Network that successfully predicts the VDEP of a video fragment solely by the EEG signal of the viewer with an accuracy ranging from 0.7447 for Colour VDEP to 0.9685 for Movement VDEP. Our work shows evidence that VDEPs affect brain activity in a variety of distinguishable ways and that a deep learning classifier can infer visual VDEP properties of the videos from EEG activity.

Lyrics in The Dolalak Dance Purworejo Central Java as a Form of Islamic Folk Songs

2016 ◽  
Vol 2 (2) ◽  
pp. 71-92
Author(s):  
Djarot Heru Santosa ◽  
Timbul Haryono ◽  
RM Soedarsono
Keyword(s):  
Dominant Role ◽  
Folk Songs ◽  
Local Language ◽  
Central Java ◽  
Dance Movements ◽  
Song Lyrics ◽  
Musical Accompaniment

Dolalak dance is highly dependent on the power of the song lyrics, so it can be called a lyrical dance. The dancers will not be able to do perfect dance moventents only by musical accompaniment; the displacement and combination of dance movements are characterized by lyrics that accompany the songs. Thus, song lyrics have a very dominant role in the arrangement of the dance movements. Dolalak dance has approximately 64 types of movements. A one-night staging, as an illustration, usually begins with 13 types of movements, followed by a trance dance, and ends with 7 types of movements as the closing. Song lyrics in the Dolalak dance are mostly influenced by the nuances of Islamic teachings. This is proven by the presence of a lot of words and/ or terms in the song lyrics which are very close to the. Arabic words in Islamic teachings. More interestingly, as a form of folk songs used in the performance of traditional Javanese arts, the Arabic words are widely adapted to the speech or pronunciation of the local language, especially the Javanese one. As a result, the origin and meaning of certain words or terms in the lyrics are difficult to trace. However, it is understandable since sometimes words in the song lyrics are preferred to adjust particular sounds.

Music video in its contexts: popular music and post-modernism in the 1980s

Popular Music ◽  
1988 ◽  
Vol 7 (3) ◽  
pp. 247-266 ◽  
Author(s):  
Will Straw
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Surrounding Rock ◽  
Music Video ◽  
Post Modernism ◽  
Song Lyrics ◽  
Music Experience ◽  
To Come ◽  
The Individual

Writing on music video has had two distinctive moments in its brief history. The first wave of treatments tended to come from the culture surrounding rock music and from those who were primarily interested in music video as something which produced effects on that music. Here, two claims were most common, and generally expressed in the terms and the contexts of rock journalism:(1) that music video had made ‘image’ more important than the experience of music itself, with effects which were to be feared (for example, the potential difficulties for artists with poor ‘images’, the risk that theatricality and spectacle would take precedence over intrinsically ‘musical’ values, etc.);(2) that music video would result in a diminishing of the interpretative liberty of the individual music listener, who would now have visual or narrative interpretations of song lyrics imposed on him/her, in what would amount to a semantic and affective impoverishment of the popular music experience.

scholarly journals Invectives as a linguistic manipulation in the song discourse (on the example of compositions from “Eurovision” song contest)

Litera ◽  
2020 ◽  
pp. 98-105
Author(s):  
Dmitry Aleksandrovich Knyazkov
Keyword(s):  
English Language ◽  
Speech Act ◽  
Italian Language ◽  
Multimodal Discourse ◽  
Eurovision Song Contest ◽  
Verbal Component ◽  
Song Lyrics ◽  
The Subject ◽  
Poetic Composition

The subject of this research is the abusive language (invectives) prohibited by the rules of the International Song Contest &ldquo;Eurovision&rdquo;. The goal consists in substantiating the role of obscene language as a linguistic manipulation in song discourse of &ldquo;Eurovision&rdquo; contest. The tabooed words and expressions represent a wide array of lexical units for research by modern linguistic science based on the materials of various voice compositions. Using the lyrics of songs that participated in &ldquo;Eurovision&rdquo; and made top 10 chart, the author determined those that contain invectives. The scientific novelty consists in the first ever analysis of song lyrics that contained the lexical units of abusive language prohibited by the rules of &ldquo;Eurovision&rdquo;. It was determined that the compositions of multimodal discourse contain various invectives in verbal component. The authors of songs for &ldquo;Eurovision&rdquo; apply different linguistic manipulations to influence the live voting and ensure a spot in the finals for their composition. This is directly related to increase in the number of participating countries; therefore, the structure and content of verbal component of a musical-poetic composition of Eurovision plays an important role. Despite the prohibition by rules of the context to use tabooed lexicon in song lyrics, the author was able to identify certain violations in the English-language and Italian-language compositions. The conclusion is made that invectives in the song discourse are effective linguistic manipulations that enhance suggestive semantics of speech act, since all compositions made it to the top 10.

Experimental animation and the neosurrealist remediation of popular music video

2020 ◽  
Vol 8 (1) ◽  
pp. 85-106
Author(s):  
Lisa Perrott
Keyword(s):  
Popular Music ◽  
Performing Arts ◽  
Music Videos ◽  
Music Video ◽  
Popular Entertainment ◽  
Close Analysis ◽  
Art And Culture ◽  
Animation Technique ◽  
Experimental Animation ◽  
Functionally Diverse

Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video.

Proximate Forms and Sites of Encounter : Music Video and Experimental Tradition

Fanvids ◽  
2020 ◽  
Author(s):  
E. Charlotte Stevens
Keyword(s):  
Video Art ◽  
Reference Points ◽  
Music Videos ◽  
Fan Studies ◽  
Television Studies ◽  
Music Video ◽  
Found Footage ◽  
Moving Images ◽  
Definition Of

Vids resemble music videos and found footage films. They have the form and appearance of a music video, and they re-use existing moving images in a way that appears to meet the definition of found footage work or remix video art. This chapter establishes some parameters within which the vid can be viewed in relation to proximate forms. This chapter works through specific academic framings of similar forms such as found footage films in the experimental tradition and music video before discussing canons of vids that are formed through recent gallery contexts. These additional lenses—beyond fan studies and television studies—offer further reference points through which to understand vids.

scholarly journals Figurative Language in the Song Lyrics of 5 Seconds of Summerand One Direction’s Albums

HUMANIS ◽  
2018 ◽  
pp. 689
Author(s):  
Ni Putu Dina Sinjiardita ◽  
I Made Budiarsa ◽  
I Ketut Tika
Keyword(s):  
Research Method ◽  
Qualitative Method ◽  
Figurative Language ◽  
Connotative Meaning ◽  
Clear Explanation ◽  
Song Lyrics ◽  
Conceptual Meaning

Abstract This study is entitled Figurative Language in The Song Lyrics of 5 Seconds of Summer and One Direction’s Albums. This study is aimed to identify figurative language and explain the meaning of those types of figurative language found in the song lyrics of 5 Seconds of Summer’s album entitled “Sounds Good Feels Good” and One Direction’s album entitled “Midnight Memories”. The data were collected using the documentation research method. After the required data were collected, they were analyzed using qualitative method. The analysis of the data were presented in a descriptive way to give clear explanation. The findings show that in 5 Seconds of Summer’s album five types of figurative language found in the data; they are: personification, irony, simile, metaphor and hyperbole. While from One Direction’s album four types of figurative language were found; they are: personification, simile, metaphor and hyperbole. There were two types of meaning found in the data; they are: conceptual meaning and connotative meaning. It can be concluded that in the rock band’s album Sounds Good Feels Good irony was found; however, in pop band’s album Midnight Memories irony was not found. Both in those two albums conceptual meaning was more frequently used.

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