Search

This paper assesses the relationship between the so-called "curses" on the Woman in Gen 3:16 in terms of themes (garden, tree, creation, marriage, procreation, and so on) and concludes that the late poetic text of the Song aims at a deliberate corrective to the negative view of gender relations in Genesis. The use of mashal, "to rule over" in Gen 3 is reassessed from the perspective of its use of the native genre designation of mashal in Wisdom Literature. There, it refers to similarities between two compared items. The direct reversal of God's speech to the humans in Gen 3, where the woman will be ruled over by her man but still desire him, appears in the Song in the speeches of the Beloved: there she states categorically that the man is her beloved and belongs to her, while she belongs to him. The tactic of defamiliarization (a Russian literary concept) is used to juxtapose radically different views and destabilizes the notion of only one meaning for the words under consideration. In effect, reading two opposing themes together forges a new, more inclusive understanding of both. This paper concludes with a dramatic new rendering of the Song, "The Song I Sing Complete" with speech and motifs reassigned to the woman's voice, foregrounding her remarks within the genre of love poetry, drawing on tropes found in lyrical poetry and the myth of Israel's neighbors in Mesopotamia and Egypt. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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 translation of song lyrics is challenging for translators primarily due to the intricate poetic and musical elements, which often compel them to employ specific strategies for effective translation. This study was an attempt to investigate the translation strategies in selected translated movie song lyrics and explore the challenges in translating the lyrics. In this qualitative study, the songs were purposefully selected from “Mulan” (1998) and “Aladdin” (2019) movies. Low’s (2013) translation strategies were applied during the process of translation. The “Translation” (transfer of material with a reasonably high degree of semantic fidelity), and “Replacement” (a re-creation of text by only preserving the music element) strategies were found as the common strategies in the translation of song lyrics. The use of a replacement strategy could be due to technical difficulties in translating songs, such as the constraint of rhythm, hence a total replacement of meanings to match the rhythm of the song. A significant challenge in translating song lyrics from English to Chinese was in translating the concept of face-saving, which is an eminent process in social interactions in Chinese culture. It was concluded that the use of a translation strategy depended on the lyrics, translators’ creativity, melody, rhyme, and the differences between the languages and cultures, while the “skopos”, i.e., the correspondence of aim/purpose in the source and target cultures should play the key role.

Cross-sex relationships between a man and a woman have their own appeal as a theme explored by researchers in creative texts such as song lyrics. The various types of cross-sex relationships in these lyrics reflect the varying characteristics of the participants involved and the language choices employed by the songwriter. Didi Kempot's Javanese Campursari song lyrics, for example, contain a dualism of contradictory female characters penned within his love-laden songs about two sorts of cross-sex relationships: mutual and rejected romance. To uncover the ideological effects of the language choices used by Didi Kempot, a set of analytical tools is needed. Thus, the goal of using Jeffries' critical stylistic model to critically read Didi Kempot's Campursari lyrics is to reveal the linguistic strengths in portraying female characters in the lyrics, thereby gaining an understanding of the songwriter's style in selecting and utilizing the potential of the Javanese language in positioning female participants in his song lyrics. Ultimately, this study can provide linguists with theoretical benefits in terms of new perspectives on contemporary stylistic studies and critical text analysis in Indonesia. The study also offers practical benefits in terms of applying critical stylistic perspectives to non-factual texts, such as Javanese song lyrics, to express ideological effects based on the songwriter's language choices and concrete linguistic evidences. [ABSTRACT FROM AUTHOR]

This paper investigates the geometric patterns inherent in Arabic poetry rhythms, uncovering attributes that likely contribute to their historical popularity. Through comprehensive analysis, we identified a combination of computational geometric features that seem to correlate with defining a rhythm's attraction in Arabic poetry. These features can be used to generate similar but new appealing poetry rhythms. While there are multiple studies on the geometry of musical rhythms, our research offers a novel perspective by applying these geometric concepts to poetry rhythms, aiming to contribute to the understanding of rhythmic patterns across diverse creative domains. To the best of our knowledge, our work is the first attempt to transfer the geometric analysis of rhythms to Arabic poetry rhythms. Moreover, our findings hint at potential connections between the rhythms of Arabic poetry and English song lyrics. [ABSTRACT FROM AUTHOR]

Copyright of Pedagogía Social is the property of Pedagogia Social 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.)

Founded in 1909 by W. Doegen in Berlin, the Sound Archive (Lautarchiv) was enriched during the First World War with valuable texts and folk songs recorded on discs and wax cylinders or recorded on paper. The research took place in 32 of the 175 prisoner-of-war camps of the Allied Powers, which covered the territory of Germany at that time. The prisoners came from European, Asian, African countries and the United States of America, and the research was carried out by a team of 50 German specialists in the languages spoken in those countries. Among them are three camps with prisoners from the Kingdom of Romania and from Bessarabia located in the perimeter of the cities of Chemnitz, Mannheim and Lamsdorf. The study presents some of the results obtained by the professors M. Friedwagner and H. Urtel in the research of the Romanian prisoners in those camps. [ABSTRACT FROM AUTHOR]

Songs, regarded as a form of musical expression, consistently mirror societal culture. This research aims to unveil and analyze the song tegalan, which serves as a portrayal of Tegal's cultural identity. The research employs a qualitative descriptive methodology. Data collection for this study involved scrutinizing tegalan songs, particularly their lyrical content, with the purpose of comprehending the themes depicting the unique identity of the Tegal community. In addition to observation, the researcher conducted in-depth interviews with three notable tegalan song artists. A literature review was also undertaken to corroborate the research findings. The collected data was then distilled to extract information pertinent to the research theme, which was subsequently presented based on the interpretation of Tegal's cultural identity and then conclusively analyzed. The research findings indicate that within the lyrics of tegalan songs, four cultural identities are discernible: (1) the utilization of colloquial Javanese infused with the "ngapak" dialect; (2) the characteristic of spontaneous and sincere communication reflective of the Tegal community's culture; (3) the identity of coastal communities, which tend to exhibit straightforwardness; and (4) the diverse range of typical Tegal delicacies such as "sega ponggol", tea with palm sugar ("teh poci gula batu"), among others. Based on these findings, it can be inferred that tegalan songs, in terms of their lyrical content, epitomize the linguistic culture of the Tegal community in both structure and communicative patterns. Moreover, in terms of messaging, these songs convey insights into the identity and distinctive attributes of the Tegal community.. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

Vocabulary is important in English language instruction, as it is indispensable for comprehending and articulating thoughts, necessitating a diverse array of classroom learning techniques, innovative pedagogical methods, and multimedia integration, and encourages teachers to try new methods, like using songs to help students get better at words. This research focuses on the effectiveness and how well students remember the vocabulary by lyric songs counted with percentage. This research will measure the dependent variable before and after exposure to the treatment, the total vocabulary in the pre-test and post-test, to see the improvement of song lyrics and check their memorization. This study uses a quantitative approach by pre-test, treatment, and post-test conducted with 34 participants in seventh grade Junior High School students. This research found that 85% of students improved their vocabulary through song with 56,15% of improvement. It means song is an effective learning medium for learning vocabulary. It means song is an effective learning medium for learning vocabulary. [ABSTRACT FROM AUTHOR]

The article investigates Swedish translations of French pop songs. The collected material (50 original songs and 50 Swedish cover versions) has been found in the database SMDB (Svensk Mediedatabas) and by using the reference site Discogs. All songs date from the “phonogram era” between the 1930s and the early 2000s. The results indicate that some Swedish target lyrics faithfully transfer the semantic meaning and the effect produced by the source texts – they hence fall into the category of “near-enough translations”. Other texts show no resemblance to the source lyrics and may therefore be described as “replacement texts” or “all-new target lyrics”. The study also highlights various stratagems that translators use to attract the interest of their target audience. They may, for instance, transfer the story to the target culture or they can choose to add French references to make the translated lyrics sound more “exotic” to the Swedish listener. Résumé L’article examine les traductions suédoises de chansons populaires françaises. Le matériel collecté (50 chansons originales et 50 reprises suédoises) a été trouvé dans la base de données SMDB (Svensk Mediedatabas) et en utilisant le site de référence Discogs. Toutes les chansons datent de « l’ère du disque » des années 1930 jusqu’au début des années 2000. Les résultats indiquent que certaines paroles cibles suédoises transfèrent fidèlement le sens sémantique et l’effet produit par les textes sources – elles entrent donc dans la catégorie des « traductions suffisamment proches » des versions originales. D’autres textes ne montrent aucune ressemblance avec les paroles sources et peuvent donc être décrits comme des « textes de remplacement » ou des « nouvelles paroles cibles ». L’étude met également en lumière diverses stratégies que les traducteurs utilisent pour attirer l’intérêt du public cible. Ils peuvent, par exemple, transposer l’histoire dans la culture cible ou choisir d’ajouter des références françaises pour rendre les paroles traduites plus « exotiques » pour l’auditeur suédois. Mots-clés: Études sur la traduction de chansons; Paroles de chansons; Chanson populaire française; Traduction suédoise

Данная статья посвящена исследованию песенного текста как неисчерпаемого источника историко-культурного богатства и части социального и политического наследия любого государства. Цель данного исследования заключается в лингвострановедческом анализе текста песни Ганса Ляйпа «Lili Marleen» на немецком языке. Автор статьи предпринимает попытку проследить взаимосвязь песни и социокультурного контекста определенной исторической эпохи, доказывая, что исследование такой взаимосвязи является когнитивным процессом, направленным на познание истории и культуры страны изучаемого языка. Анализ материала показывает, что песенный текст, будучи разновидностью поэтического текста, является комплексным явлением, отражающим изменения культурного пространства не только в лингвистическом, но и в социолингвистическом и когнитивном аспектах. В данной статье особое внимание уделяется исследованию особенностей функционирования языковых средств в песенном тексте. Проводится анализ лексики с точки зрения тематического содержания песенного текста, описываются выявленные приемы художественной речи, особенности их использования в песенном тексте. В качестве методологической базы были использованы общенаучные и частнонаучные методы исследования.

The article analyses the lyrics of selected songs by Lila Downs, paying special attention to the rhetorical appeals of logos, ethos and pathos they contain. The results of the analysis reveal all three types of rhetorical appeals, as well as passages combining two or all three of them. Pathos appeals to emotion, often using specific linguistic means (hyperbole, irony), ethos evokes both historical figures and indigenous people as examples, and logos involves predominantly social criticism.

The societal phenomenon of taboo terms is commonly expressed in song lyrics. This research focuses on the function of taboo expressions in the song lyrics of Nicki Minaj, a singer who is known to use such expressions. The first objective of this analysis is to determine the types of taboo expressions found in Minaj’s songs. Secondly, the researchers examine the function of these expressions in the song lyrics. Four of Minaj's songs are presented in the data: "Superbass," "Megatron," "Barbie Tingz," and "Anaconda." This research employs descriptive and qualitative analysis, as well as the theoretical frameworks provided by Battistella (2005) and Wardhaugh (2021). The findings demonstrate that vulgarity is the most frequent form of taboo expression in Minaj's song lyrics, while the main function of these phrases is to attract attention. These songs indicate more than simply linguistic qualities; they also offer a thorough understanding of the social setting. This study fills a gap in the literature on taboo expressions in song lyrics by revealing the function and types of taboo expressions employed by a well-known singer. This research has the capacity to enlighten future research on the usage of taboo expressions in music, and the broader cultural consequences of such language implication.

Abstract Music is ubiquitous in our everyday lives, and lyrics play an integral role when we listen to music. The complex relationships between lyrical content, its temporal evolution over the last decades, and genre-specific variations, however, are yet to be fully understood. In this work, we investigate the dynamics of English lyrics of Western, popular music over five decades and five genres, using a wide set of lyrics descriptors, including lyrical complexity, structure, emotion, and popularity. We find that pop music lyrics have become simpler and easier to comprehend over time: not only does the lexical complexity of lyrics decrease (for instance, captured by vocabulary richness or readability of lyrics), but we also observe that the structural complexity (for instance, the repetitiveness of lyrics) has decreased. In addition, we confirm previous analyses showing that the emotion described by lyrics has become more negative and that lyrics have become more personal over the last five decades. Finally, a comparison of lyrics view counts and listening counts shows that when it comes to the listeners’ interest in lyrics, for instance, rock fans mostly enjoy lyrics from older songs; country fans are more interested in new songs’ lyrics.

Research suggests that a core lexical structure characterized by words that define plot staging, plot progression, and cognitive tension underlies written narratives. Here, we investigate the extent to which song lyrics follow this underlying narrative structure. Using a text analytic approach and two publicly available datasets of song lyrics including a larger dataset (N = 12,280) and a smaller dataset of greatest hits (N = 2,823), we find that music lyrics tend to exhibit a core Arc of Narrative structure: setting the stage at the beginning, progressing the plot steadily until the end of the song, and peaking in cognitive tension in the middle. We also observe differences in narrative structure based on musical genre, suggesting different genres set the scene in greater detail (Country, Rap) or progress the plot faster and have a higher rate of internal conflict (Pop). These findings add to the evidence that storytelling exhibits predictable language patterns and that storytelling is evident in music lyrics. [ABSTRACT FROM AUTHOR]

This article explores the way in which love is understood and expressed through the original English lyrics of songs by New Creation Church Singapore (NCC) in comparison to the original songs from Hillsong Church Australia (Hillsong) through the period of 2014–2020. While NCC has a multilingual congregation, reflective of the larger Singaporean society, it composes and releases original contemporary congregational songs (CCS) with English lyrics. English is the primary language in Singapore; however, it is shaped by the languages spoken in homes (e.g., Mandarin, Malay, Tamil). Combined with the theological emphases of NCC, its CCS provide a unique lens into English as a common language of worship. This article demonstrates that while the use of English lyrics is a unifying force for multilingual congregational worship, it is also not benign, but actively shaping Christian confession and associated theology and being shaped by wider multilingual contexts. [ABSTRACT FROM AUTHOR]

Scrutinizing literary works such as song lyrics and poems can be beneficial for instilling character education since they may contain sublime messages from prophetic ethics. However, such messages are oftentimes conveyed using metaphors, which cannot be interpreted literally from the words used in the literary works. Hence, the present study aims to scrutinize the metaphorical expressions used in Tegalan songs and poems as a form of Javanese literary works and analyze the prophetic ethics contained in the texts, depicting character education. A qualitative research design involves the process of analyzing, classifying, interpreting, and drawing conclusions. The metaphors were identified and classified. The language used to convey the prophetic ethics were also analyzed to explain the depiction of character values within them. The findings demonstrate that metaphors were used to express the author's intentions aesthetically, emphasizing the good practices of undergoing life, such as resilience, patience, and totality in living life. Furthermore, some prophetic values were realized in the forms of humanistic, liberalization, and transcendental ethics, described in the lyrics of the poem and song Tegalan. This paper can be used as a reference for those aiming to instill character education through the use of local literary works. [ABSTRACT FROM AUTHOR]

The field of Science Teaching (ST) seeks different alternatives to enhance its practices in the classroom. In this context, the use of music in the teaching process appears as a possibility. The bibliographical research presented here searched in the annals of the Encontros Nacionais de Pesquisa em Educação em Ciências held from 2011 to 2021 and in periodicals in the area of Science Education in the QUALIS A1 or A2 stratum for works that addressed this theme, in order to draw an overview about of the way in which researchers in the field explore the relationship between music and ST. 33 works were found that were subdivided into three major categories, constructed based on the observed thematic recurrence: exploration of scientific concepts; creation and use of parodies and analysis of the lyrics of songs with scientific themes, in which 11 different motivations were identified as justification for their use. The works that used song lyrics were subdivided according to the type of composition approach. Finally, the analysis of recurring authors who worked on song lyrics was carried out with the aim of verifying recurrences and absences of musical genres, in an attempt to understand the use of music as an instrument or cultural object. The absence of the samba-enredo genre and the tendency to use music as a teaching instrument and not as a cultural object stood out. [ABSTRACT FROM AUTHOR]

Orality is one of the key means of expressing ideas in most African traditional societies. For this reason, the development and promotion of oral theology are crucial for the promotion of the Christian faith in Africa. The use of oral theology is one of the key factors that make Christianity thrive in an oral community because it facilitates the contextualization of the Christian message and makes it relevant and meaningful to the receptor community. As a contribution to the development and promotion of this emerging field of theology, this study explores key divine attributes embedded in the song Yehowa which was composed by a Ghanaian duo, Suzzy and Matt. The article used a literature-based research approach to gather data on the subject. The methodology for the study comprises of a critical socio-cultural study of the lyrics based on the African worldview. In the process, a biblical-theological analysis was conducted to critique the insights gained from the socio-cultural analysis. In the end, the study offers theological-missiological reflections for Africa based on the exposition of the lyrics of the song. The article argues that though symbolic and oral theologies are legitimate theologies, they must always be scrutinized in the light of Scripture to avoid syncretism. The article contributes to African Christian theology by providing a framework within which oral theology may be espoused and promoted in Africa. [ABSTRACT FROM AUTHOR]

Campursari lyrics have distinctive characteristics in refining word choices, even in contexts that may be considered vulgar. Likewise, the artists constantly adapt to the changing times. They understand that excessively harsh or vulgar word choices can undermine the beauty and wisdom they intend to convey. In this regard, the present study aimed to analyze word choices to refine the vulgar context in the lyrics of the Campursari song "Gubug Asmoro." The research method employed was descriptive qualitative with a semiotic analysis approach based on Charles Sanders Pierce's theory. Data collection techniques included observation and note-taking. The research data consisted of lyrics manifesting as words, phrases, and sentences representing gender imbalances. Data analysis techniques involved content analysis and focus group discussions. The findings of this study could contribute to the fields of linguistics, Campursari music, and language usage in song lyrics. The results documented the semantic and contextual variations in word choices used to refine the vulgar context in Campursari lyrics, aiming to understand how their usage could influence listeners' perception of art and culture. The semiotic analysis by Charles Sanders Pierce was incorporated to provide a deeper understanding of the connection between vulgar words, the context of traditional music art, and how social interpretations were formed through their usage. Thus, this research could contribute to the understanding of meaning construction and representation in the context of popular art and culture in Indonesia, particularly within the Campursari genre. [ABSTRACT FROM AUTHOR]

Music is ubiquitous in our everyday lives, and lyrics play an integral role when we listen to music. The complex relationships between lyrical content, its temporal evolution over the last decades, and genre-specific variations, however, are yet to be fully understood. In this work, we investigate the dynamics of English lyrics of Western, popular music over five decades and five genres, using a wide set of lyrics descriptors, including lyrical complexity, structure, emotion, and popularity. We find that pop music lyrics have become simpler and easier to comprehend over time: not only does the lexical complexity of lyrics decrease (for instance, captured by vocabulary richness or readability of lyrics), but we also observe that the structural complexity (for instance, the repetitiveness of lyrics) has decreased. In addition, we confirm previous analyses showing that the emotion described by lyrics has become more negative and that lyrics have become more personal over the last five decades. Finally, a comparison of lyrics view counts and listening counts shows that when it comes to the listeners' interest in lyrics, for instance, rock fans mostly enjoy lyrics from older songs; country fans are more interested in new songs' lyrics. [ABSTRACT FROM AUTHOR]

The growth of digital and social media has led to an exponential increase in the availability of music and its lyrics. It has been observed that objectionable content is becoming a huge problem in the age of the digital era. This research aims to develop a system for automatically detecting lyrics that may contain offensive or controversial themes, such as hate speech, sexism, racism, and violence, by generating labeled data using weak supervision. In this study, we generated labels using heuristic rules using the Snorkel framework, and the performance of various machine learning classifiers, namely, Logistic Regression, Random Forest, and Support Vector Machine, were evaluated on label-generated data. The results show that DistilBert performs better than frequency-based methods (TF-IDF and CountVectorizer) by 3-5% in F1 score, and the results are even more impressive on SMOTE augmented dataset, where Logistic Regression and SVM on Distilbert vectorized data performed similarly and has exhibited 6-8% of F1 score gain over frequency based methods. In addition, it asserts that the proposed method can be used to detect offensive lyrics in other languages, given the same type of data used in this study. Our work will help music industry professionals and digital content monitoring systems for hate and offensive content to adopt the methodology and approaches used in our work. [ABSTRACT FROM AUTHOR]

Copyright of Linguistika: Buletin Ilmiah Program Magister Linguistik Universitas Udayana is the property of Program Studi Magister Linguistik Program Pascasarjana Universitas Udayana 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.)

В рамках данной статьи рассматриваются лексические и грамматические особенности и их влияние на перевод текста в песнях рок-жанра. Актуальность темы определяется наличием в современных музыкальных композициях индивидуальных лингвистических аспектов, требующих перевода и его анализа, а также потребностью в локальном познании данного дискурса. Помимо обширных исследований в области песенного рок-дискурса, анализируются труды песенной рок-группы Imagine Dragons. В статье представлены выводы об особенностях формирования рок-произведений. Выводом является положение о том, что анализ лексико-грамматических единиц и приёмов, создающих песни в жанре рок, представляется своеобразным. Данный анализ отражает тенденции развития рок-дискурса в переводческом аспекте.

Each song lyric has a message that the writer wants to convey to the listener about what the writer feels and thinks. This research discusses how Japanese female idols are represented in the opening soundtrack of the anime song “Oshi no Ko” which is currently being discussed among Japanese idol fans. The song titled “Idol” is the work of a duo band known as Yoasobi, telling a story of anxiety and sadness in the romance of Japanese youth life but accompanied by uplifting techno music. When song lyrics are made based on commercial interests, the meaning of the text should be criticized to find out who is in a dominating position and who is not. The song “Idol” in this research is analyzed using Sara Mills’sCritical Discourse Analysis (CDA) (1997) with a feminist perspective to analyze the presentation of the storyteller (subject) and the told (object). The results of this study show that the position of female idols as objects is shown as a figure who does not talk about herself much, her desires and feelings are less well conveyed. Female idols are shown more from the fans’ point of view as the position of the storyteller (subject). The position of female idols in the lyrics is only shown by stereotypical idol characters who are required to have a positive image, have high loyalty to fans, are required to be perfect by covering all flaws, and are prohibited from dating. Although the song “Idol” is an anime soundtrack that discusses the other side of idol life, in this song, the opportunity to voice the thoughts and what female idols want to express is not well displayed. Thus, the lyricist only presents female idols based on what they want for the sake of desire and sexual objects. This research only uses one main data source, namely song lyrics. It is hoped that future research can use a variety of main data sources such as anime or manga.

Previous research has explored the synthesis of singing using the input of numbered musical notation and song lyrics, with a primarily focus on solo singers. This study takes a different approach by synthesizing songs that are simultaneously sung by 2 - 4 singers, essentially forming a choir performance. Each synthetic song a soprano (S), alto (A), tenor (T), and a bass (B), collectively known as SATB voices. Each voice type is separately synthesized using the MBROLA speech synthesis software. The resulting individual voice components are then combined into a single audio sound using the crossplatform audio editing software SOX. Findings reveal that the fundamental frequency produced when combining these four voice types differs from the average, thereby highlighting a distinctive outcome. [ABSTRACT FROM AUTHOR]

Schlager was used as a term for songs on the Swedish popular music market from the 1920s and on. Coincidentally, song translation practices developed that varied rather seamlessly between liberty and fidelity. Nevertheless, based on an extensive corpus of Swedish target song lyrics, released 1916–2011, I identify and name six roughly distinguishable text methods: near-enough translation, perspective-shift translation, hook transposition, single-phrase spinoff, phonetic calque, and all-new target song lyrics. Examining the chronological distribution of the variation, most exploration of the experimental middle ground was found in the 1960s and 1970s. One decisive factor may be increased tailoring of lyrics for specific performers or venues. From the 1980s and on, changing circumstances seem to have made imported music released with Swedish lyrics less prevalent on the market, but widely variable song translation methods continue to be practiced in later decades too. [ABSTRACT FROM AUTHOR]

The aim of this article is to investigate the process of diachronic transmission with reference to oral material. Departing from field recordings from the very north of Sweden this article intends to account for the transmitting of oral song traditions connected with two pious song books, Sions sånger/Sion’s Songs and Sions nya sånger/Sion’s New Songs from the 18th century. The song books were published in numerous editions up until 1975 and foremost used by religious dissenters. Only song texts were provided in the books – as for melodies the congregation had to deal with directions to contemporary melodies, mostly hymns. The recordings indicate that several both sacred and profane melodies used during the 18th century may have followed the songs for more than 200 years in oral tradition. The restricted life within the congregations is a prerequisite for this process which goes on within the collective. In the present investigation the contradictory words acceptance and avoidance/repudiation are used to make clear what elements are active as both controlling and cooperative in the dynamic transmitting process. [ABSTRACT FROM AUTHOR]

The article focuses on the diverse range of topics featured in the ninth issue of Puls. Topics include the dynamic oral transmission of songs among religious dissenters in Sweden, adaptations of "schlager" lyrics for the Swedish music market, and strategies employed by a Black Metal band to gain public funding in Sweden.

The article presents a comparative study of the biographies of two priests from the Kyiv region: Vasyl Slovachevskyi and Fedir Iavorskyi, one urban and one rural priest. They were born in 1880 and 1878, respectively, and both died in 1938 during the Great Terror. Using a microhistorical approach, the authors provide a critical comparative analysis based on documentary evidence from archival and published sources, tracing the life trajectories of Vasyl Slovachevskyi and Fedir Iavorskyi. The study draws from references and periodical diocesan publications, as well as published materials from the archives of Soviet special services and Alla Slovachevska's family archive. It explores commonalities and distinctions in their social circles, positions, and the impacts of sociopolitical transformations. Both priests came from ecclesiastical families in rightbank Ukraine and received secondary spiritual education, graduating from theological schools and seminaries, a common path for clergy's sons at the time. Despite their spiritual education, which served as a means of Russification, both priests remained connected to their ethnic roots. Evidence includes Fedir Iavorskyi's recording of Ukrainian song lyrics and Vasyl Slovachevskyi's responses about his nationality and native language during his arrest. With the onset of Soviet rule, their established lives underwent significant change. Vasyl Slovachevskyi resisted the new government and opposed the «renovationist» changes in church life, remaining loyal to traditional church practices. Both priests were arrested by Soviet authorities, sent to camps in Russia, and extrajudicially executed. Their life trajectories, reflective of their social milieu, are considered representative of the lower Ukrainian clergy of their time. [ABSTRACT FROM AUTHOR]

This paper investigates how popular music lyrics over the past century have described the nature and dynamics of Anglo-American student experience in formal schooling contexts. Using data from a cross-section of music streaming service databases, we identified 131 popular songs whose lyrics specifically discuss dimensions of formal school experience, especially from a student perspective. After three rounds of inductive thematic textual analysis, 7 major themes with 28 associated sub-themes emerged. These themes include school environment, situated feelings about school, negative results of school, school and society, conformity, negative view of teachers and the sexualization of teachers. Based on the assumption that a song owes at least some of its popularity to the appeal and relatability of its lyrical content to its audience, we hope that an in-depth, thematic analysis of such lyrics will give educationalists new insight into Anglo-American school experience through the salient societal medium of popular music. We further hope that these lyrical themes will shed new light on the lived experiences of school-age students and thereby deepen educationalists' understanding of student experiences, perceptions and dispositions toward school more generally. [ABSTRACT FROM AUTHOR]

Copyright of Folklore Studies / Tautosakos Darbai is the property of Institute of Lithuanian Literature & Folklore 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 Muiraquitã: Revista de Letras e Humanidades is the property of Muiraquita 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.)

To ensure that students can understand the meaning of the English they are learning, knowledge of content and function words are two important aspects that must be possessed. The aim is to avoid misunderstanding in the interpretation process, both in written and oral texts. Nevertheless, this research was made with the aim of knowing types of content words appeared in the lyrics of Selena Gomez's song "Who Says" and the function of the dominant content word in this song. In order to obtain the required data, researchers used a qualitative descriptive method. Meanwhile, the lyrics of the song were analyzed manually by giving the symbols "V", "N", "Adj", and "Adv" according to the word class. With the result that the data could be obtained, they were 83 words of nouns, 74 words of verbs, 32 words of adjectives, and 3 words of adverbs. In addition, of the 83 nouns, there was the word "you're" which was the dominant or most appearing word that could function as a subject as well as an object. [ABSTRACT FROM AUTHOR]

This research is related to Figurative Language Analysis in Boywithuke song lyrics. The purpose of this study was to identify the types of figurative words found in 20 BoywithUke songs and to explain the meanings contained in the songs. Data sources were taken from 20 popular singers and musicians from American singers and musicians with the record label Republic. The twenty are toxic, two moons, long drives, lovesick, haha,hi, out of tune, IDGAF, understand, wafers, shy, bad luck, lovely, hazel eyes, heart of ice, far away, scared of the dark, she said no, i wan't let you go, contigo, blurry nights. The principles used in this study are quoted from the principles of figurative language put forward by Keraf (2009). The mode used in this study is a qualitative mode. Starting with listening to the song, then analyzing song lyrics that contain figurative language and recording related data. From this study, fourteen kinds of figurative language were found from twenty BoywithUke song lyrics, namely simile 8.5%, metaphor 19.3%, allegory 6.3%, personitification 6.3%, allusion 0.5%, eponym 0, 2%, epithet 0.2%, synecdoche 14.3%, metonym 1.6%, antonomasia 12.9%, hypalase 10.4%, irony 12.7%, satire 1.3%, pun 4.6% of the total types of figurative language according to Keraf's theory (2009). [ABSTRACT FROM AUTHOR]

Hyperbole is a figure of speech that is commonly used in a range of literary works, as well as in ordinary English. A figure of speech that exaggerates a setting or situation in a remark. One of them appears in the song's lyrics. Songwriters utilize hyperbolic language to convey meaning to listeners, making the message more profound and emotive. The goal of this study was to determine how often the song writers used hyperbole in six selected soundtracks from the movie of Cinderella 2021. In addition, the researcher also analyzed the types of meaning contained in each song lyric which indicated hyperbole based on Leech'theory. This study conducted a qualitative method using referential equivalent techniques in describing hyperbole and its types of meaning that the authors found proposed by Sudaryanto. The researcher found 17 data containing hyperbolic expressions in the six selected soundtrack songs in the movie of Cinderella 2021. The songs that contain the most hyperbolic expressions are found in two song titles entitled "Somebody To Love" and "Whatta Man / Seven Nation Army" each appearing as many as four times. There are four types of meaning in the six soundtracks including connotative meaning, emotive meaning, social meaning, and thematic meaning. Furthermore, the type of meaning that appears most often in the six songs is connotative meaning. Finally, there is one lyric which has thematic meaning and one of the song lyrics has a combined meaning, namely social and connotative meaning. [ABSTRACT FROM AUTHOR]