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So we see Beyoncé's Knowles.. latest album amptly called out 'Lemonade'. So, what is THAT about
For Theodore Gracyk meaning in popular music depends as much on the context of reception and performer's intentions as on established musical and semantic practices. Songs are structures that serve as the scaffolding for meaning production, influenced by the performance decisions of the performer and their intentions. Arguing against prevailing theories of meaning that ignore the power of the performance, Gracyk champions the contextual relevance of the performer as well as novel messaging through creative repurposing of recordings. Extending the philosophical insight that meaning is a function of use, Gracyk explains how both the performance persona and the personal life of a song's performer can contribute to (or undercut) ethical and political aspects of a performance or recording. Using Carly Simon's “You're So Vain”, Pink Floyd, the emergence of the musical genre of post-punk and the practice of “cover” versions, Gracyk explores the multiple, sometimes contradictory, notions of authenticity applied to popular music and the conditions for meaningful communication. He places popular music within larger cultural contexts and examines how assigning a performance or recording to one music genre rather than another has implications for what it communicates. Informed by a mix of philosophy of art and philosophy of language, Gracyk's entertaining study of popular music constructs a theoretical basis for a philosophy of meaning for songs.
Frustrated by a day full of teachers and classmates mispronouncing her beautiful name, a little girl tells her mother she never wants to come back to school. In response, the girl's mother teaches her about the musicality of African, Asian, Black-American, Latinx, and Middle Eastern names on their lyrical walk home through the city. Empowered by this newfound understanding, the young girl is ready to return the next day to share her knowledge with her class. Your Name is a Song is a celebration to remind all of us about the beauty, history, and magic behind names.
The Music: The Hits, The Start Collection, Madonna, Justin Bieber, Beyonce, Ariana Grande, Robbie Williams, Nicki Minaj, The Scrip., Eminem, Rihanna, Ellie Goulding, Maroon 5, Arnold Schwarzenegger, Michael Jackson, Lady GaGa, The Everly Brothers, Adele, Sia, Frank Sinatra, The Beatles, Tori Amos, Elvis Presley, Mariah Carey, Coldplay, Shakira, Bjork, Eefje de Visser, Doe Maar, Love Songs Dutch Style, Toon Hermans, Tulpenboom, Herman van Veen, Myrthe, Marco Borsato, Song Symbology, Musica, Those Multicultural Songs, Zayn and Britney..
Dus.. Wat zijn we eigenlijk aan het DOEN. Ik schrijf songs als deel van mijn hobby lijn als ceo van Nell co. en Nell fou. In die maanden in opstart, erg veel stress, ook over waar dat biochem/biopharma bedrijf over gaat. Wekelijks een hele dag met relaxen door songs te schrijven. Meer
Unlocking Meaning in Art Song teaches singers how to analyze songs in order to discover deeper meanings and create more compelling interpretations and performances. The first part of the book introduces important practical skills for analyzing the text as well as key musical elements including melody, rhythm, structure, linear motion, and harmony. The remainder of the book presents an in-depth guided analysis of twenty Schubert songs. The questions and prompts in these chapters allow students, singers, and other readers to discover for themselves the amazing ways in which music and expressive meaning are structured. Songs range from simpler analytical difficulty (such as An die Musik) to medium difficulty (such as Gretchen am Spinnrade), and finally to more complex (such as Erlkönig). The techniques presented in this book can be applied to all types of songs, allowing singers to build critical skills and artful consciousness. This is an ideal resource for song literature courses, voice teachers, students, collaborative pianists, and theory faculty.
The use of popular music in advertising represents one of the most pervasive mergers of cultural and commercial objectives in the modern age. Steady public response to popular music in television commercials, ranging from the celebratory to the outraged, highlights both unresolved tensions around such partnerships and the need to unpack the complex issues behind everyday media practice. Through an analysis of press coverage and interviews with musicians, music supervisors, advertising creatives, and licensing managers, As Heard on TV considers the industrial changes that have provided a foundation for the increased use of popular music in advertising, and explores the critical issues and debates surrounding media alliances that blur cultural ambitions with commercial goals. The practice of licensing popular music for advertising revisits and continues a number of themes in cultural and media studies, among them the connection between authorship and ownership in popular music, the legitimization of advertising as art, industrial transformations in radio and music, the role of music in branding, and the restructuring of meaning that results from commercial exploitation of popular music. As Heard on TV addresses these topics by exploring cases involving artists from the Beatles to the Shins and various dominant corporations of the last half-century. As one example within a wider debate about the role of commerce in the production of culture, the use of popular music in advertising provides an entry point through which a range of practices can be understood and interrogated. This book attends to the relationship between popular culture and corporate power in its complicated variation: at times mutually beneficial and playfully suspicious of constructed boundaries, and at others conceived in strain and symbolic of the triumph of hypercommercialism.
In Philosophy of Song and Singing: An Introduction, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of isolated solo performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available.