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Keyword Analysis of Bruno Mars' Song Lyrics
Materialism Construction: Keyword Analysis of Bruno Mars’ Song Lyrics Arisara Thongnopphakhun Wannapa Trakulkasemsuk Thanis Bunsom King Mongkut’s University of Technology Thonburi, Bangkok, Thailand Corresponding author’s email: [email protected] Received 21 January 2019; revised 26 June 2019; accepted 31 July 2019; online 30 August 2019 Abstract Music has long been an effective way to communicate to the masses, and lyrics play an essential role in delivering this communication. Lyrics may contain an ideology and influence listeners. This study aims to conduct a keyword analysis to investigate the materialistic ideology connoted in Bruno Mars’ song lyrics. The corpus of Bruno Mars’ lyrics was compiled from lyrics of 30 Bruno Mars songs in three albums released between 2010 and 2016. The corpus was then compared against the British National Corpus (BNC) to obtain a keyword list. The top 100 keywords were selected based on their statistical values for further analysis. They were classified according to their part of speech, and concordance lines of each keyword were obtained so as to discuss the representation of Bruno Mars’ songs. Materialistic concepts found in the corpus include an emphasis on, or preference for, 49 Vol. 14 No. 2 (2019) luxury objects, brand-name items, a lavish lifestyle, parties, economic power, physical appearance, and objectifying women. Keywords: Aboutness, Bruno Mars lyrics, Keyword analysis, Materialism Introduction In this age of great technological advancement, popular culture (or pop culture) is widespread. As citizens of the globalised world, it is difficult for us to escape from the influence of mass media and popular culture (Monk, Winslade & Sinclair, 2008). -
The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice. -
Not Just a Day
TAKE A STAND Having mutual respect in all relationships NEWS | 3 Also OPINION OUT OF LIFE COMPLETE CONTROL DUMMIES inside: 6 Opium epidemic is alarming 7 CHBS gets robotic Vol. 95, No. 8 Thursday, October 13, 2016 breezejmu.org DOGGONE DELICIOUS Not just a day job Blue Ridge Dog brings healthy treats to furry friends Alumna travels country with FEMA, helps disaster victims LIFE | 7 By KATE FORMELLER These sleeping arrangements weren’t ideal but it brought The Breeze them closer together, according to Manco. “You have to accept that you are not going to have that Water begins to seep through the floorboards. Within hours, much privacy as you used to have when you go into this you’re standing ankle-deep in the middle of the living room. program,” Manco said. “Because, one, you share a room with Fear floods your body as the rushing water floods the only place people but then two, you eat, sleep and breathe with your you have to call home. team. You do everything together. You become a family.” “You always see on TV these kinds of disasters, or you see and hear about what the government’s doing, but then when you’re see FEMA, page 7 actually in the middle of it, it’s a completely different story,” Dina Manco, Federal Emergency Management Agency Corps member and media representative, said. FEMA Corps members have both their day jobs and roles within their team. Manco’s the sole media representative for her team. She’s the photographer, blogger and handles press releases. -
Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
Songs by Artist
Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S. -
French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print. -
Insufficient Concern: a Unified Conception of Criminal Culpability
Insufficient Concern: A Unified Conception of Criminal Culpability Larry Alexandert INTRODUCTION Most criminal law theorists and the criminal codes on which they comment posit four distinct forms of criminal culpability: purpose, knowl- edge, recklessness, and negligence. Negligence as a form of criminal cul- pability is somewhat controversial,' but the other three are not. What controversy there is concerns how the lines between them should be drawn3 and whether there should be additional forms of criminal culpabil- ity besides these four.' My purpose in this Essay is to make the case for fewer, not more, forms of criminal culpability. Indeed, I shall try to demonstrate that pur- pose and knowledge can be reduced to recklessness because, like reckless- ness, they exhibit the basic moral vice of insufficient concern for the interests of others. I shall also argue that additional forms of criminal cul- pability are either unnecessary, because they too can be subsumed within recklessness as insufficient concern, or undesirable, because they punish a character trait or disposition rather than an occurrent mental state. Copyright © 2000 California Law Review, Inc. California Law Review, Incorporated (CLR) is a California nonprofit corporation. CLR and the authors are solely responsible for the content of their publications. f Warren Distinguished Professor of Law, University of San Diego. I wish to thank all the participants at the Symposium on The Morality of Criminal Law and its honoree, Sandy Kadish, for their comments and criticisms, particularly Leo Katz and Stephen Morse, who gave me comments prior to the event, and Joshua Dressler, whose formal Response was generous, thoughtful, incisive, and prompt. -
Jared "Doc" Estes Ten Little Ditties Mp3, Flac, Wma
Jared "Doc" Estes Ten Little Ditties mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Ten Little Ditties Country: US Released: 2016 Style: Folk MP3 version RAR size: 1866 mb FLAC version RAR size: 1249 mb WMA version RAR size: 1197 mb Rating: 4.1 Votes: 845 Other Formats: AAC VOX TTA APE DXD MP1 FLAC Tracklist 1 Days Of 49 5:34 2 Copper Kettle 2:40 3 Prohibition Ballad 3:25 4 Motherless Child Blues 2:59 5 Old Joe's Bar-room 5:53 6 Brand New Companion 3:55 7 I'll Never Get Out Of This World Alive 2:18 8 Cocaine Blues 2:15 9 Stealin' 3:38 10 Nothin' 2:54 Credits Acoustic Guitar, Vocals, Harmonica – Jared "Doc" Estes (tracks: 1-10) Notes This is a collection of ten 'old' folk songs that are especially dear to me and that I will always consider part of my 'folk guitar' repertoire. Most of these songs are traditional numbers re-recorded by a wealth of musicians. A few are unique original numbers by country greats Hank Williams, Townes Van Zandt and Barbecue Bob. On all but a couple of these songs I have included the name of the person whose version has influenced me, not necessarily the person(s) who wrote the song. I. Days of 49 (Bob Dylan) II. Copper Kettle (The Country Gentlemen) III. Prohibition Ballad IV. Motherless Child Blues (Barbecue Bob) V. Old Joe's Barroom (Snooks Eaglin) VI. Brand New Companion (Townes Van Zandt) VII. I'll Never Get Out of This World Alive (Hank Williams) VIII. -
Page 1 Albums of the 2000S
Albums of the 2000s - Free Printable Wordsearch SBLEEDAMERIC ANEVOLVER UTMFLEETFOXE S RHITRANSAT LANTICISMREVEAL WVESWH ITEBLOODCELLS IILUMOJOONANISLA NDBYTHEWAYT MTVAN ITSTILLMOVES H IAHOSDFIGURE ROCKACTIONE NLTRTEO VENIVIDIVICIOUSB TAEDR NES I SCEDEJS CUT G TONRT TTEP EC AOSOH ONTEHGL O DWLLII IOOSOR SM IITJVT ANDARE EE ULIOSEP EEPI EWGU MTCIBRC HLIAA NHUP ASOOEATA ENMVD TEE RZENTWYNRR KOEAHR CDEIHIOK ERNL IOE ALITECU NGER DLTMTSAACCEL ERATEIE D IOMGIATTL ONDE F UCOHETDRB NTGSZ R MTDAIVI UIISEI ONEBEAT AESI PMMSYVR N HRT LAPIAE IK EN CLEHDMN ST DTL ATDZF DO RIEI SIEO EB OO MINML AO NW EYD DR AS P MISUNDERSTOOD PINK COOL TO BE YOU WITH TEETH ILLINOIS WHITE BLOOD CELLS ATTACK RELEASE IS THIS IT IS DEAD AVENGED SEVENFOLD BLEED AMERICAN MALADROIT EVOLVER VENI VIDI VICIOUS ON AN ISLAND MEZMERIZE FIGURE EUPHORIA MORNING ST ELSEWHERE GREENDALE PROBOT TRANSATLANTICISM MODERN TIMES ZEITGEIST REVEAL STADIUM ARCADIUM THE LAST DJ EL CAMINO GUERO HITTIN THE NOTE MADVILLAINY DE STIJL FRANK THE BIG COME UP FLEET FOXES WARPAINT THIRD WILCO THE ALBUM ROCK ACTION ONE BEAT IOWA IT STILL MOVES BY THE WAY STRIPPED MOJO INTENSIVE CARE ACCELERATE SURVIVOR DAYS OCTAHEDRON ONCE Free Printable Wordsearch from LogicLovely.com. Use freely for any use, please give a link or credit if you do. Albums of the 2000s - Free Printable Wordsearch RSONICNURSE ICREVELATIONST HICKFREAKNESS NH NPLIVI NGWITHWAR RSU ODANCEOFDEATH AITHW EEZERORIGINOFSYMMET RY ILEALRIGHTS TILLMLIVEITOUT C NESUDWOLFMO THERI TSE BNOTO OS HHA OTYON HS EOS WANO TOCEANICII RWE SLHIWAKINGTHEF ALLENO -
Rocksmith Includes a Library of Tracks That Span from Classic Hits to Current Favorites
Rocksmith includes a library of tracks that span from classic hits to current favorites. Each of these will feature the real lead, rhythm, and combo guitar compositions found in the songs. Whether you’re an experienced musician, or have never picked up a guitar in your life, Rocksmith will automatically adapt to your personal ability level. After playing – you’ll be able to perform these songs when you turn the game off. Songlist (as of 10th October 2012) Group Song Title BEST COAST When I’m With You BLUR Song 2 CREAM Sunshine Of Your Love DAN AUERBACH I Want Some More DAVID BOWIE Rebel Rebel ERIC CLAPTON Run Back To Your Side FRANZ FERDINAND Take Me Out INCUBUS I Miss You INTERPOL Slow Hands JENNY O. Well OK Honey KINGS OF LEON Use Somebody LENNY KRAVITZ Are You Gonna Go My Way LITTLE BARRIE Surf Hell LYNYRD SKYNYRD Sweet Home Alabama MUSE Unnatural Selection MUSE Plug In Baby NIRVANA In Bloom NIRVANA Breed PIXIES Where Is My Mind? QUEENS OF THE STONE AGE Go With The Flow RADIOHEAD High And Dry RAPSCALLIONS California Brain RED FANG Number Thirteen SIGUR ROS Gobbledigook SILVERSUN PICKUPS Panic Switch SOUNDGARDEN Outshined SPOON Me And The Bean STONE TEMPLE PILOTS Vasoline STONE TEMPLE PILOTSs Between The Line TADDY PORTER Mean Bitch THE ANIMALS House Of The Rising Sun THE BLACK KEYS I Got Mine THE BLACK KEYS Next Girl THE BOXER REBELLION Step Out Of The Car Songlist Cont. (as of 10th October 2012) THE CRIBS We Share The Same Skies THE CURE Boys Don't Cry THE DEAD WEATHER I Can't Hear You THE HORRORS Do You Remember THE ROLLING STONES (I Can’t Get No) Satisfaction THE ROLLING STONES The Spider And The Fly THE ROLLING STONES Play With Fire THE STROKES Under Cover Of Darkness THE WHITE STRIPES Icky Thump TITUS ANDRONICUS A More Perfect Union TOM PETTY AND THE HEARTBREAKERS Good Enough VELVET REVOLVER Slither WHITE DENIM Burnished YELLOW MOON BAND Chimney More songs will be available on Xbox Live/Playstation Store at a reasonable price for you to download and play as they’re released. -
Donald Trump and the White Stripes
1 Natalie Edwards IMC 452 - POV #2 Rewrite November 1, 2016 Trump and the White Stripes: Is it ethical for people, including presidential candidates, to use content without getting permission from the original artist? According to Kate Feldman from tHe New York Daily News, on Tuesday, October 4, two former band members were reunited after finding out that a video containing one of their songs was released to promote Republican Presidential candidate Donald Trump’s campaign. As a result, controversy arose because these artists did not give Trump permission to use tHeir song, wHicH clearly and unetHically violates tHe artist’s rigHts and may be copyrigHt infringement. Jack and Meg WHite, former band members of tHe WHite Stripes, stated immediately that they are “disgusted” by tHe use of tHeir “Seven Nation Army” song in a Donald Trump campaign video (Feldman). On Facebook and Twitter, the White Stripes and Third Man Records, which is Jack White’s current record label, released a statement explaining that they are not affiliated witH Trump, and tHat tHey do not want Trump’s beliefs and actions to reflect tHe band itself. According to Carly Ledbetter from The Huffington Post, at first, it was unclear if the video was an official Trump campaign video. But, a spokesperson from Pitchfork stated that the video was actually a fan-made clip entitled “Trump TriumpHant.” The video was posted on YouTube by a user witH tHe account name of “God-Emperor Trump” (Ledbetter). THe now-deleted fan-video featured a series of Trump rally clips witH tHe song from tHe band’s 2003 “ElepHant” album playing in the background (Feldman). -
HACIENDA PARADISO a Play by Josh Worth Hacienda Paradiso by Josh Worth
HACIENDA PARADISO a play by Josh Worth Hacienda Paradiso by Josh Worth A play in 2 acts Based on actual events which occurred in the 1930s on Floreana Island in the Galapagos © 2015 Josh Worth. All Rights Reserved Contact [email protected] for performance rights CHARACTERS Friedrich Ritter 30s. A German dentist, philosopher, and misanthrope. Wild hair and a goatee. No front teeth. Dore Koerwein Strauch Mid 20s. A discontented bank teller from Berlin. Friedrich Ritter’s mistress and disciple. Simple clothing. No front teeth. Heinz Wittmer 40s. A balding, down-to earth, retired government official. Served in the German army in WWI. Mustache and glasses. Often smokes a pipe. Margret Wittmer 40s. Wife of Heinz. A kind-hearted German Hausfrau. Baroness Wagner-Bosquet 30s. Possibly an Austrian aristocrat. Louder and more vivacious than her physical presence might suggest. Wears skirts, riding boots, and loose-fitting tops. Often carries a riding crop and a pistol in a holster. Robert Philippson Late 20s. German. The dark, dashing “husband” of the Baroness. Often shirtless. Rudolf Lorenz Late 20s. German. The Baroness’ skinny blonde lover and traveling companion. Tattered clothing. Captain Allan Ainsworth 50s. An American millionaire, biologist, musician, and frequent visitor to Floreana. Sophisticated and well- kempt. Joseph Gartner 30s. An American marine biologist and friend of Capt. Ainsworth. setting Floreana Island (Charles Island), located in the Southern Galapagos. 1929-1934 hacienda paradiso act i ACT I: SCENE 1 - FRIEDO The rustle of giant palm fronds. Animals and birds crying. Distant waves. Lights come up slightly to focus on FRIEDRICH RITTER and his mistress, Dore STRAUCH.