DOCSLIB.ORG

Part 1 Audiota

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Part 1 Audiota Russia Inventory List Please use this list to check off items before returning the kit to Milner Library. Box – Part 1 Audiotapes Moscow Symphony Orchestra and Children’s Chorus/ Chimes of Bells (w/information sheet) Russian Pop and Rock Music II Books Children’s Russian Language Book w/Pictures (1975) A Day In the Life of the Soviet Union Illustrated Book About the Far East (4 laminated pages) (in pkg w/Russian Children’s Paintings) Kocthoma Hapodhoro (in Russian) (picture book – ethnic clothing) Let’s Visit the Soviet Union: A Passport Sticker Book Russia Today (teaching unit) Russia: A Literature Based Multicultural Unit Teacher’s Manual Magazines National Geographic (6 individual binders, 11 articles total) Newspapers Russian Newspaper (1993) Pictures and Paintings Russian Children’s Paintings (3) (in pkg w/Illustrated Book About the Far East) Church of St. Basil, Moscow General View of Moscow, Russia Tsar Kolokol, Moscow (Czar of Bells) Winter Palace, St. Petersburg Realia Children’s Story Cards (4 pairs) (in pkg w/Folk Toys and Wooden Egg) Cups (2) (lacquer-ware) Folk Doll (large) Folk Toys (2) (small) (1 w/instrument; 1 w/chef’s hat) Lapel Pins (12) Matryoshki (2) (nesting dolls) (1 set of 4, yellow coat; 1 set of 5, red coat) Pens (2) and Brooch (1) (lacquer-ware) Photos (1 set) (in pkg w/postcards) - Vladimir (25) Peter the Great Costume (jacket, waistcoat, breeches, stockings, wrist cuffs, neck stock) (fits child 4 – 4 ½ ‘ tall) Picture of Peter the Great (in clothing similar to above costume) (in bag w/costume) 1 | R u s s i a Inventory List Realia cont’d Postcards (5 sets) (in pkg w/Photos) - Moscow (14) - Moscow (24) (long cards) - Moscow Kremlin (18) - Vladimir (25) - Vladimir (10) (# 10 is part of folder) Shopping Bag (plastic) Soup Bowls (2) (lacquer-ware) Spoon Set (3) with Hanger (lacquer-ware) Spoons (6) (lacquer-ware) (not a set) Vladimir Tourist Items (3) (in 1 pkg) - Address Book - Copper Etching of Gates - Model of Golden Gates Woman’s Kitchen Apron Wooden Egg (1) (in pkg w/Children’s Story Cards and Folk Toys) Box – Part 2 Books Baba Yaga (Russian Folktale) Children’s Paperback Books (2) (in Russian) - (Moon on Front) ISBN: 5080004290 - (Boy Wearing Coat) ISBN: 5084169 A Guide: Moscow (1988) Just Enough Russian: How to Get By and Be Easily Understood (Passport Books) Little Russian Cookbook (w/bookmark) (in pkg w/food samples) (Chronicle Books, 1990) The Mitten (Ukrainian Folktale) Molly’s Pilgrim (a Bantam First Skylark) 101 Recipes of Old Russia (Christ The Savior Orthodox Church, Indianapolis, IN, 1982) (in pkg w/food samples) Rise of Russia (Great Ages of Man series) Russia (teaching unit w/12 transparencies; 1 missing) Soviet Union 1991 (Bantam’s) Vladimir (in Russian) Realia Bashlyk (tasseled hood-like head covering) (repro) (Caucasus) Box with Lid (lacquer-ware) Cutting Board (lacquer-ware) 2 | R u s s i a Inventory List Realia cont’d Folk Dolls (2) (small) Food and Spices, Dried (5) (4 in 1 pkg) (all in pkg w/2 recipe books and 6 postcards) - Celery - Coriander - Dill - Pepper - Russian Tea (in box) (in separate bag) Fur Hat (Russian) Handkerchiefs For Little Girls (3) Ladle (Russian lacquer-ware) Neck Scarf, Child’s (Communist Party) Paper Flags (3) (miniature) - Byelorus - Ukraine - USSR (old) Postcards About Food (6) (in pkg with food samples and cookbooks) Russian Coin (in wooden frame) Russian Coins (3) (various ruble denominations, encased in Plexiglas) (in pkg w/Soviet coins) Russian Flag and Stand (small) Scarf, Woman’s Slippers, Hand-Knit (1 pair) Soviet Coins (7) (ruble denominations: 5, 10, 10, 15, 20, 50, ?) (encased in Plexiglas) (in pkg. w/Russian coins) Soviet Union Currency, 7 Bills (ruble denominations: 1, 3, 5, 10, 25, 50, 100) Sugar/Condiment Bowl (lacquer-ware) Table Runner w/Matching Napkins (2) and Apron (red and yellow) Wall Hangers (2) (lacquer-ware) Woodcarving: Farmer w/Horse and Sled Hauling Wood Bag – Part 3 Maps Arctic Ocean/ Peoples of the Arctic (National Geographic, Feb. 1983) Russia and the Newly Independent Nations of the Former Soviet Union/ Communism to Capitalism (National Geographic, March 1993) Soviet Union/ Peoples of the Soviet Union (National Geographic, Feb. 1976) Soviet Union/ Soviet Union (info) (National Geographic, March 1990) The World: The Surface of the World (Creative Teaching Press, 1992) 3 | R u s s i a Inventory List Posters St. Basil’s Cathedral (Discovery Posters, 1992) Russia (girls eating ice cream)/ Matryoska Dolls, Info Russia to 1917 (display/reference unit) - The Earliest Inhabitants of Russia - Russia Becomes Christian - Early Russia – Kiev and Novgorod - The Tsars of Russia - The Peoples of Russia - The Architecture of Moscow - Old Russia Through Western Eyes - Siberia - Russia Defeats Napoleon - The Revolution of 1905 - The Bolshevik Revolution – 1917 - Contents List - Russia to 1917 (bulletin board heading) Vladimir Church (in Russian) Red Envelope – Part 4 Realia Russian Fan 4 | R u s s i a Inventory List .
Load more

Recommended publications
  • Networks of Music Groups As Success Predictors
    Networks of Music Groups as Success Predictors Dmitry Zinoviev Mathematics and Computer Science Department Suffolk University Boston, Massachussets 02114 Email: dzinoviev@suffolk.edu Abstract—More than 4,600 non-academic music groups process of penetration of the Western popular music culture emerged in the USSR and post-Soviet independent nations in into the post-Soviet realm but fails to outline the aboriginal 1960–2015, performing in 275 genres. Some of the groups became music landscape. On the other hand, Bright [12] presents an legends and survived for decades, while others vanished and are known now only to select music history scholars. We built a excellent narrative overview of the non-academic music in the network of the groups based on sharing at least one performer. USSR from the early XXth century to the dusk of the Soviet We discovered that major network measures serve as reason- Union—but with no quantitative analysis. Sparse and narrowly ably accurate predictors of the groups’ success. The proposed scoped studies of few performers [13] or aspects [14] only network-based success exploration and prediction methods are make the barren landscape look more barren. transferable to other areas of arts and humanities that have medium- or long-term team-based collaborations. In this paper, we apply modern quantitative analysis meth- Index Terms—Popular music, network analysis, success pre- ods, including statistical analysis, social network analysis, and diction. machine learning, to a collection of 4,600 music groups and bands. We build a network of groups, quantify groups’ success, I. Introduction correlate it with network measures, and attempt to predict Exploring and predicting the success of creative collabo- success, based solely on the network measures.
    [Show full text]
  • Paradoxes Within Soviet Rock and Pop of the 1970S A
    UNIVERSITY OF CALIFORNIA Los Angeles The Soundtrack of Stagnation: Paradoxes within Soviet Rock and Pop of the 1970s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Alexandra Grabarchuk 2015 ABSTRACT OF THE DISSERTATION The Soundtrack of Stagnation: Paradoxes within Soviet Rock and Pop of the 1970s by Alexandra Grabarchuk Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor David MacFadyen, Chair The “underground” Soviet rock scene of the 1980s has received considerable scholarly attention, particularly after the fall of the USSR when available channels of information opened up even more than in the glasnost years. Both Russian and American academics have tackled the political implications and historical innovations of perestroika-era groups such as Akvarium, Mashina Vremeni, and DDT. Similarly, the Beatles craze of the 1960s is also frequently mentioned in scholarly works as an enormous social phenomenon in the USSR – academics and critics alike wax poetic about the influence of the Fab Four on the drab daily lives of Soviet citizens. Yet what happened in between these two moments of Soviet musical life? Very little critical work has been done on Soviet popular music of the 1970s, its place in Soviet society, or its relationship to Western influences. That is the lacuna I address in this work. My dissertation examines state-approved popular music – so-called estrada or “music of the small stage” – produced in the USSR during the 1970s. Since detailed scholarly work has ii been done on the performers of this decade, I focus instead on the output and reception of several popular composers and musical groups of the time, exploring the relationship formed between songwriter, performer, audience, and state.
    [Show full text]
  • Refiguring the Rebetika As Literature
    Macalester College DigitalCommons@Macalester College English Honors Projects English Department 4-2020 Bodies in the Margins: Refiguring the Rebetika as Literature Sophia Schlesinger Macalester College, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/english_honors Part of the English Language and Literature Commons, Ethnomusicology Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Schlesinger, Sophia, "Bodies in the Margins: Refiguring the Rebetika as Literature" (2020). English Honors Projects. 44. https://digitalcommons.macalester.edu/english_honors/44 This Honors Project - Open Access is brought to you for free and open access by the English Department at DigitalCommons@Macalester College. It has been accepted for inclusion in English Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. BODIES IN THE MARGINS Refiguring the Rebetika as Literature Sophia Schlesinger Faculty Advisor: Andrea Kaston-Tange Macalester English Department Submitted April 25th, 2020 Abstract This thesis engages a literary analysis of a corpus of songs and recordings known as the rebetika (sing. rebetiko), which prospered in the port districts of major cities throughout the Aegean in the early 20th century. Engaging the rebetika as literary texts, I argue, helps us understand how they have functioned as a kind of pressure point on the borders between nation and Other. Without making unproveable biographical claims about the motives of the music progenitors, I examine why so many have reached for the rebetika as texts with which to articulate various political and cultural desires. Using a multidisciplinary theoretical framework that includes Elaine Scarry, Stuart Hall, Edward Said, Mark C.
    [Show full text]
  • Moscow by Night: Musical Subcultures, Identity Formation, and Cultural Evolution in Russia, 1977–2008
    MOSCOW BY NIGHT: MUSICAL SUBCULTURES, IDENTITY FORMATION, AND CULTURAL EVOLUTION IN RUSSIA, 1977–2008 BY GREGORY R. KVEBERG DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Diane Koenker, Chair Professor Kathryn Oberdeck Professor Craig Koslofsky Professor John McKay Professor Mark Steinberg Abstract This dissertation examines the history of musical subcultures in Moscow from 1977 to 2008. It argues that subcultures were not forces for revolutionary change, or natural loci of opposition to the state. Only during the brief period from 1982 to 1984 did the state actively seek to impose a unitary vision of culture on the Soviet Union. Throughout the rest of these three decades, the state allowed a significant range of subcultural expression. This policy won either loyalty or toleration for Brezhnev’s government from a majority of Muscovite subculturalists. It proved similarly successful when re- introduced by Vladimir Putin. This dissertation asserts that this policy of tolerance allowed official culture and subcultures to evolve together in a dialectical process. This work also charts key trends in the development of subcultural identities in Moscow. Subculturalists responded to shifting political and economic situations. They generally greeted the arrival of the market with ambivalence, as many felt that musical legitimacy required artists to eschew commercial success. Subculturalists eagerly embraced the Internet, and used it to form connections to other groups of subculturalists and to archive collective memories. Contact with the west produced a variety of different responses among subculturalists, and these responses speak to larger divisions within Russian society.
    [Show full text]
  • Xiami Music Genre 文档
    xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop .........................................
    [Show full text]
  • The Role of Popular Music Forms in the Construction of Cultural Identities in Post-Soviet Belarus: Discourses and Practices of Young Belarusians
    The Role of Popular Music Forms in the Construction of Cultural Identities in Post-Soviet Belarus: Discourses and Practices of Young Belarusians Approved dissertation submitted in fulfillment of the requirements for the degree of Doctor of Philosophy (Dr. phil.) at the Carl von Ossietzky University of Oldenburg, School of Linguistics and Cultural Studies, Institute of Music by Anastasia Wakengut, M.A. born on 15 November 1981 in Jezkazgan Primary supervisor: Prof. Dr. Susanne Binas-Preisendörfer Carl von Ossietzky University of Oldenburg Co-supervisor: Prof. Dr. Michael Huber University of Music and Performing Arts Vienna Date of disputation: 25 January 2019 Acknowledgements The process which resulted in this thesis involved a lot of people, who contributed to it in various ways. First of all, I would like to thank all my interviewees as well as the focus group respondents who shared their experiences and their stories, and who thus became the protagonists of this work. I would like to express my gratitude to my academic advisor Prof. Dr. Susanne Binas- Preisendörfer, who always emphasized the relevance of this study and was very encouraging from inception to completion of the thesis. Also, I would like to thank Prof. Dr. Michael Huber for his expert advice in the statistical part of the dissertation. The opportunity to conduct this study was provided by the post-graduate studies programme “The Construction of Identities of Young Adults in a Post-Socialist Society in Transformation: The Case of Belarus” (Helene-Lange-Kolleg). I would like to thank all its members for the constructive co-work, and especially the programme coordinator, Prof.
    [Show full text]
  • Sakha Pop Music and Ethnicity
    First published in Properties of Culture – Culture as Property. Pathways to Reform in Post-Soviet Siberia, edited by Erich Kasten, 2004, 67–85. Berlin: Dietrich Reimer Verlag — Electronic edition for www.siberian-studies.org Sakha Pop Music and Ethnicity AIMAR VENTSEL Introduction This paper focuses on popular culture in the Republic of Sakha, the larg- est territory in the Russian Federation covering over 3 million square kilo- meters. Sakha is an autonomous region within Russia, as are many other regions, regardless of whether they are offi cially designated as a republic, a province (oblast), a district (krai, okrug), etc. The population of Sakha is only about one million, 35% of whom are natives – either Turkic-speaking Sakha, or the so-called Less Numerous People of the North. The so-called “newcomer” (priezzhi) population is mainly Russian, but there are also Ukrainians, Belorussians etc. The People of Sakha like to say that over 80 different “nationalities” live on the territory of their republic. The popu- lation is divided roughly between Russian-dominated industrial districts and Sakha-dominated agrarian ones. What makes the ethnic situation in Sakha interesting is that, whereas the economy is dominated by new- comers, the Sakha dominate in the political sphere, including the capital, Yakutsk. Yakutsk is also the center for science, theater, art and music in Sakha. Not only the government but also the state TV and radio stations, the most infl uential private radio stations, the only opera and other insti- tutions important for “cultural life” in the republic are all located in Yakutsk. It is quite a dangerous town, where visitors are advised not to walk the streets after dark.
    [Show full text]
  • Popular Music and Gays, Lesbians, Bisexuals, and Transgender People: an Annotated Bibliography and Discography
    Page 1 of 35 Popular Music and Gays, Lesbians, Bisexuals, and Transgender People: An Annotated Bibliography and Discography. Compiled by Walt “Cat” Walker. Approved by the GLBTRT Resources Committee. Last revised January 12, 2017. TABLE OF CONTENTS Introduction 2 I. General Nonfiction 3 II. Memoirs & Biographies 9 III. Fiction 32 IV. Drama 33 V. Children & Teens 34 VI. DVDs 35 Page 2 of 35 Introduction Gays, lesbians, bisexuals, and transgender people have always participated in creating popular music. In recent years, the visibility of LGBTQ people in the music world has increased, and more popular music has been created that openly describes the LGBTQ experience. There has also been an increase in books and films related to LGBTQ visibility in popular music, both in fiction and nonfiction. This bibliography includes resources about gay men, lesbians, bisexuals, and transgender persons involved in the popular music field. The books have all been published in print, and many of them may also be found as e-books. Separate sections contain memoirs, novels, plays, and children’s and teen books. Several LGBT popular music-related DVDs are also listed. Each book and DVD has a link to the OCLC WorldCat record (when available) where you can see which libraries hold the item. Most of this resource is comprised of a discography of popular music recordings by LGBTQ artists. It is not meant to be complete, but many recordings still available in CD format for each artist are listed, and several are annotated. Many of these performers’ songs can now also be found on streaming music services and online digital music websites.
    [Show full text]
  • A LETTER from PETE SEEGER: Pop, Rock, & Coca-Colonization
    4... BlJUEl1N de mll.tique plklolique canadienne ---=--- --==~= A LETTER FROM PETE SEEGER: Pop, Rock, & Coca-Colonization Pete Seeger needs no introduction, and we are not going to offer one. temporarily apolitical. Seeger's essay was not the only experience that Rather, I'd like to discuss why we are presenting this essay now. As we helped to reshape my esthetics and politics, but it was perhaps the most noted in our News column in the last issue, the sloop Qearwater celebrated conscious and articulate discussion of the political ramifications of culture its 30th anniversary this year; as I read the announcement, I thought I encountered at that time, and I have oftcn found mysclf thinking of it immediately about Seeger, a major force behind the creation of the sloop, during the two decades that have passed. as well as a necessary ingredient in the North American folk music revivals Some of the ideas Seeger expresses here are treated as passe in some that have occurred in the 2nd half of the century. In many ways, our Society self-styled "progressive" quarters. There is, indeed, reason to claim that is a function of those revivals, and virtually all of our members enjoy music bhangra, reggae, oy,juju, and so on, not to mention country music, heavy that bears traces of Seeger's presence. Obviously, Seeger introduced metal, punk rock, perhaps even disco, are not part of a cultural homog- suburban North America to ballads, to old time banjo music, to calypso, to enization-in some respects, they do speak to (and for, and sometimesfrom) the blues, to Leadbelly and Woody Guthrie, as well as to the idea that you different constituencies, though I still wonder whether or not the similarities and I could write our own songs: without "The Hammer Song" and "Where don't outweigh the differences.
    [Show full text]
  • Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
    Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project.
    [Show full text]
  • REFLECTIONS of a NATION Antigone on the Modern Greek Stage
    REFLECTIONS OF A NATION Antigone on the Modern Greek Stage Andria Michael Royal Holloway, University of London Thesis Submitted for the Degree of PhD in Classics 2015 2 Declaration of Authorship I, Andria Michael, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Andria Michael 18 December 2015 3 Abstract This thesis is a study of performances of Sophocles’ Antigone on the modern Greek stage, their political and social resonances, their cultural contexts and their role in the formation and presentation of modern Greek national identity. It is the result of research concerning the revival of ancient Greek drama, in accordance with modern Greek theatre history as well as with the broader history of the modern Greek nation. As a play political in its essence, Antigone has been widely used as a political statement in the Greek revivals from the second half of the nineteenth century onwards. To attempt an examination and analysis of such performances covering this long period of time means to simultaneously examine the key events of the country: the liberation from Ottoman Rule, the early process of formation of the new state, the hotly disputed conflict of the Language Question, the modernist Generation of the 1930s, the Greek Civil War, the Dictatorship of 1967-1974, as well as many other significant events and movements of modern Greek history. The approach of the work is qualitative rather than quantitative. The aim is to choose the specific moments when theatre and politics cross paths, to examine the connections between artistic choices and political incentives, and to highlight the moments which eventually reveal that Antigone has been repeatedly used as a platform for political or politically charged issues, conflicts and agendas.
    [Show full text]
  • Lorentz, Korinna
    MASTERARBEIT im Studiengang Crossmedia Publishing & Management Erfolgversprechende Melodien – Analyse der Hooklines erfolgreicher Popsongs zur Erkennung von Mustern hinsichtlich der Aufeinanderfolge von Tönen und Tonlängen Vorgelegt von Korinna Gabriele Lorentz an der Hochschule der Medien Stuttgart am 08. Mai 2021 zur Erlangung des akademischen Grades eines „Master of Arts“ Erster Betreuer und Gutachter: Prof. Dr. Oliver Wiesener Zweiter Betreuer und Gutachter: Prof. Oliver Curdt E-Mail: [email protected] Matrikelnummer: 39708 Fachsemester: 4 Geburtsdatum, -ort: 15.04.1995 in Kiel Danksagung Mein größter Dank gilt Professor Dr. Oliver Wiesener für das Überlassen des Themas und die umfangreiche Unterstützung bei methodischen und stochastischen Überlegungen. Ich danke ihm insbesondere dafür, dass er trotz einiger anderer Betreuungsprojekte meine Masterarbeit angenommen hat und somit meinen Wunsch, im Musikbereich zu forschen, ermöglicht hat. Des Weiteren möchte ich meinem Freund und meiner Familie dafür danken, dass sie sich meine Problemstellungen bis zum Ende hin angehört haben und mir immer wieder Inspi- rationen für neue Lösungswege geben konnten. Besonderer Dank gilt meiner Mutter, Gabriele Lorentz, mit der ich interessante Gespräche zu musikalischen Themen führen konnte und mei- nem Vater, Dr. Thomas Lorentz, mit dem ich nächtliche Diskussionen über Markov-Ketten und Neuronale Netzwerke hatte. Ich danke meinen Eltern und meinem Freund, Michael Feuerlein, für die kritische Durchsicht der Arbeit. Kurzfassung In der vorliegenden Masterarbeit wurden die Melodie-Hooklines von Popsongs, die in Deutsch- land zwischen 1978 und 2019 sehr erfolgreich waren, explorativ analysiert. Ziel war, zu unter- suchen, ob gewisse Muster in den Reihenfolgen der Töne und Tonlängen vorkommen, und diese zu finden. Für die Mustersuche wurden Markov-Ketten erster, zweiter und dritter Ord- nung sowie Chi-Quadrat-Anpassungstests berechnet.
    [Show full text]