The Neutral Tone as a Function of Folk-Song Text

1970 ◽  
Vol 2 ◽  
pp. 127
Author(s):  
George W. Boswell
Keyword(s):  
2020 ◽  
pp. 498
Author(s):  
باسل محمد المشاقبة ◽  
عبدالله تيسير عبدالله الشديفات ◽  
نسرين ناجى الخوالدة ◽  
براءة الذنيبات ◽  
أنس ابراهيم الحنيطى
Keyword(s):  

Author(s):  
Sintija Kampāne-Štelmahere

The research “Echoes of Latvian Dainas in the Lyrics of Velta Sniķere” examines motifs and fragments of Latvian folk songs in the poetry by Sniķere. Several poems that directly reveal the montage of folk songs are selected as research objects. Linguistic, semantic, hermeneutical and historical as well as literary methods were used in poetry analysis. The research emphasizes the importance of Latvian folklore in the process of Latvian exile literature, the genesis of modern lyrics, and the philosophical conception of the poet. Latvian folk songs in the lyrics of Sniķere are mainly perceived as a source of ancient knowledge and as a path to the Indo-European first language, prehistoric time, which is understood only in a poetic state. Often, the montage of Latvian folk songs or their fragments in the lyrics of Sniķere is revealed as a reflexive reverence that creates a semantic fracture and opposition between profane and sacred view. The insertion of a song in the poem alters the rhythmic and phonetic sound: a free and sometimes dissonant article is replaced by a harmonic trochee, while an internationalism saturated language is replaced by a simple, phonetically effective language composed of alliterations and assonances. The montage of folk songs in a poem is justified by the necessity to restore the Latvian identity in exile, to restore the memory of ancient, mythical knowledge, to represent the understanding of beauty and other moral-ethical values and to show the thought activity. Common mythical images in the lyrics of Sniķere are snake, wind, gold, silver, stone etc. The Latvian folk song symbolism and lifestyle of the poet are organically synthesized with the insights of Indian philosophy.


2016 ◽  
Author(s):  
Shanshan Fan ◽  
Aijun Li ◽  
Jun Gao ◽  
Ao Chen
Keyword(s):  

Author(s):  
Timothy Freeze

The posthorn solos in the trios of the third movement of Mahler’s Third Symphony have polarised critical and scholarly opinion regarding their stylistic origins. My examination places the posthorn solos in the context of the popular music of Mahler’s day. Drawing on contemporary reviews, sheet music, and military band manuscripts in Austrian and German archives, I uncover palpable references, since forgotten or neglected, both to the genre of sentimental trumpet solos, common in salon music and band concerts, and to posthorn stylisations distinctive to popular music. Mahler demonstrably knew these repertoires, and critics often cited them in reviews. These allusions do not negate the solos’ likenesses to folk song and the sound of actual posthorns. Rather, Mahler’s score refers to multiple musical styles without being reducible to any one of them.


Animals ◽  
2021 ◽  
Vol 11 (5) ◽  
pp. 1360
Author(s):  
Maria Luiza A. Fonseca ◽  
Angélica S. Vasconcellos

The inclusion of life history as a possible influential factor is pivotal in studies on behavior, welfare, and cognition. Shelter dogs have usually experienced a life involving poor social interactions with humans. Thus, we aimed to investigate the behavioral responses of shelter dogs (SDs) and companion dogs (CDs) during the training of two vocal cues (“sit”, “paw”), as well as the possible associations between their responses and the behaviors of trainers. We studied 15 SDs and 15 CDs in up to eight five-minute training sessions. Dogs’ and trainers’ behaviors were recorded and analyzed (through GLM, GLMM, correlation and Mann–Whitney tests). Shelter dogs responded to more cues per session, with shorter latencies and fewer repetitions of cues. Moreover, SDs spent more time wagging their tails. Dogs’ sex and trainers’ behaviors were also associated with differences in dogs’ responses. The use of a reproachful tone of voice was associated with a greater number of cues responded to, shorter latencies, and fewer repetitions of cues. However, this type voice/discourse was also linked to a greater exhibition of non-training behaviors (e.g., exploring the room or jumping on the trainer), and to dogs spending less time next to the trainer and wagging their tails. On the other hand, the use of a neutral tone of voice and laughter, besides being linked to performance, was also associated with longer durations of tail wagging. Furthermore, the duration of the trainers’ orientation to dogs was correlated with the orientation of the dogs to the trainers. Our data suggest that, even when having experienced social deprivation from humans, SDs’ capacities to learn vocal cues were preserved, possibly due to ontogenic homeostasis processes. Shelter dogs’ greater interest in the sessions may be also credited to their socially-deprived routine. Our outcomes also point to an association between friendly interactions during training and dog performance and excitement, which suggests that such interactions may have the potential to improve SD welfare.


Notes ◽  
1968 ◽  
Vol 25 (2) ◽  
pp. 335
Author(s):  
Dena J. Epstein ◽  
Leonhard Deutsch ◽  
Claude Simpson ◽  
Willard Trask ◽  
Michael Jaffee
Keyword(s):  

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