TITLE: The use of the child songs lyrics in literary education at primary school SUMMARY: The subject of this dissertation are the texts of children's songs and composited poetry for children and their using in teaching literary education at primary school. The tagret to achieve was to develop a series of literary education lessons built on the principles of constructivist teaching methods using work with interactive text. Based on the assumption that work with the song leads students to a sensitive perception and understanding of texts, the recitation and the development of children's reading skills. Result of this work is a series of ten lesser-known songs with a specific practical methods of working with text in which the student actively participates. KEYWORDS: children song, literary education, primary school, lyrics

5 Abstract This thesis is focused on the poetics of czech hip hop lyrics. It deals with meanings lyrics can posess inside the frame of different models of youth subcultures or in context of dominant culture. The comparathive method showed being of good use because of cultural transfer, that lies in the very basics of hip hop music and culture. The relation between music and lyrics in a whole of single performance, whether is it concert or record, is also an important topic of this research. Key words hip hop, rap, popular culture, lyrics, subculture

Denna självstudies syfte föddes ur ett antagande om mig själv, att jag upplever mig ha svårt för att lära mig sångtexter och framföra dessa utantill. Studien behandlar en djupdykning i min egen instuderingsprocess av sångtexter ur ett hermeneutiskt perspektiv. Studien dokumenterades genom videoinspelning och loggboksskrivande, där jag studerar in två sånger utantill. Tolkningen av resultatet sammanfattas med fyra teman utifrån mina forskningsfrågor: styrkor i instuderingsprocessen vilka tolkas vara förmågan till inlevelse av texten där jag målar upp inre bilder och berättelser, och svagheter i instuderingsprocessen vilka tolkas vara övningsstrategi och pianospel, samt en jämförelse mellan att använda förinspelad musik eller inte där fokus hamnar på i vilket syfte förinspelad musik används och dess konsekvenser för mig, att den förinspelade versionen används som en bekräftelse för korrekt uttal av texten. I diskussionen diskuteras sedan tolkningen av resultatet gentemot bakgrundslitteratur och tidigare forskning på området. / The purpose of this self study was born out of an assumption I have made of myself, that I find it difficult to learn song lyrics by heart and perform them by heart. From a hermeneutic perspective the study takes a deep dive into my learning process whilst learning song lyrics. The study is documented by video and logbook writing, where I learn two songs by heart. The analysis results are summarized in four themes based on my research questions: strengths in the rehearsal process, interpreted as empathy of the text where I create inner pictures and stories, and weaknesses in the rehearsal process, interpreted as practice strategy and playing the piano, as well as a comparison between using pre-recorded music or not, a comparison focusing on the purpose of pre-recorded music and its consequences for me; consequently that the pre-recorded music was used as a confirmation for correct pronunciation of the lyrics. The discussion debates the interpretation of the results against the background literature and previous research.

Syftet med arbetet är att identifiera olika typer av resurser för lärande. I detta självständiga arbete beskrivs tre olika typer av strategier för instudering med fokus på textinlärning, och vid varje ny strategi användes en ny sång. Studien baseras på mig själv i form av loggbok och videoinspelningar, som gjordes över tre veckor med totalt 15 loggboksinlägg och sex videoinspelningar under hösten 2015. Arbetet utgår från ett multimodalt designteoretiskt perspektiv. Resultatet visar hur jag använder mig av olika resurser för att studera in tre olika sångtexter, som studerades in utifrån tre olika textinlärningsstrategier. Slutligen diskuteras resultatet i relation till det designteoretiska perspektivet och tidigare forskning. / In this independent project three kinds of strategies for learning with focus on learning lyrics is described and explored. For every new strategy a new song is used. The purpose is to explore and identify different kinds of resources when learning. The study is based on observations of myself in form of a logbook and video recordings over three weeks with a total of 15 practicing sessions in the fall of 2015. The starting point is a multimodal and design theoretical perspective. The result show how I use different resources when learning different lyrics by using three kinds of strategies for learning lyrics. Finally I discuss, in relation to the design theoretical perspective and earlier research.

The purpose of this thesis is to analyze and compare lyrics that use and convey the Swedish empirethe Era of Great Power. Through an analytical and comparative study of Stefan Andersson's album Skeppsråttan and Sabaton's album Carolus Rex, the purpose is to elucidate how each artist / group presents the Era of Great Power. A hermeneutic perspective has been the basis for the study and the method of analysis consists of a combination of cluster analysis and comparative analysis. Cluster analysis is carried out on each album to finally produce two overarching topics that are common to both albums. The contents of these topics for each album are then compared with comparative method. Based on the cluster analysis, the common topics for the album could be shaped, namely War and Everyday life. The result was that Sabaton presents the Swedish empire- the Era of Great Power through war and soldiers' everyday life in the war. Stefan Andersson's presentation of the period is more permeated by individuals' stories taken from their everyday lives, including the war. In summary, the survey has given me a nuanced and wider picture of the historical period and how it can be presented in as different ways as the two musicians have done. That one and the same period can seem so different depending on how you want to produce it.

Many students claim that they can study well while listening to music (Anderson & Fuller, 2010; Patton, Stinard, & Routh, 1983), but how does listening to music affect students’ ability to encode and recall studied information? Previous research on background music and attention has revealed mixed results, with some studies indicating that background music can help reduce inattentional blindness (Beanland, Allen, & Pammer, 2011), while others suggest that music may hinder the attention of the listener (by Shih, Huang, & Chaing, 2012). Additionally, individual differences in working memory capacity impact one’s ability to store and retrieve information, as well as to suppress any intrusive thoughts and ignore distractions (Cowan et al., 2005; Rosen & Engle, 1998). The purpose of the present study was to determine if the musical components of polyphony and homophony impact students’ ability to encode and recall information, while accounting for the impact of working memory capacity. Participants were randomly assigned to one of five musical conditions: simplistic without lyrics, simplistic with lyrics, complex without lyrics, complex with lyrics, or control (silence). In each condition, participants studied Swahili English word pairs, then completed a verbatim recall test. Higher working memory capacity was associated with recalling more items correctly. The results of the study indicated that there were no significant differences in recall performance due to music condition when accounting for working memory capacity. Potential explanations for the results of this study, as well as implications for future research, are examined.

During the Civil War, musical fluidity led to an outpouring of songs written about the conflict. With every popular song came at least one set of alternate lyrics known as contrafacta. In this thesis, I analyze Northern anthem “The Battle Cry of Freedom,”and Southern anthems “The Bonnie Blue Flag” and “Dixie” and their contrafacta. Through the lens of contrafacta, I analyze how the North and the South understood the terms “liberty” and “freedom.”

This study provides a performance guide to the nine song settings of Mother Goose Lyrics and Mother Goose Lyrics II by American composer Richard Faith (b. 1926). Included is a biography of the composer. The primary purpose is to provide analysis that shows that these nine songs are accessible to undergraduate singers and that these are arguably Faith’s most approachable songs for the young singer. As is pertinent to each individual song the discussion may include information on the poetry, musical form, textual support, pedagogical issues, harmonic progressions, melodic ideas, rhythmic devices, character analysis, as well as information on text setting devices. This is accomplished through the author’s own analysis and study of Faith’s songs, interviews with the composer, and references to the three other dissertations covering Faith’s song compositions. This performance guide will provide an introduction to Richard Faith and his musical style, as well as provide a tool for teachers and singers seeking performance practice guidance.

<p>Throughout history women have been subject to oppression by patriarchal society. </p><p>However, there have always been those who have tried to rise against it. This study will shed light upon one example: a female artist who personally defies the patriarchal norms at the same time as her music encourages others to do the same. The musician in question is Christina Aguilera, and the album studied is Stripped. </p><p>What this study shows is that Stripped can be read as a feminist statement. The lyrics deal with two main themes: patriarchal society’s objectification and oppression of women, and the struggles of love and relationships. What these two themes have in common is that they both encourage women to stand their ground and believe in themselves. </p><p>However, the lyrics on the album also suggest that Aguilera is aware of the fact that her message will not suit everyone. She knows that she works within an industry whose goal is to make money out of its artists, and therefore she has to keep repeating like a mantra to herself and to others that she, and her music, is not just a product of this industry. The message her music brings actually matters. </p><p>To come to this conclusion I have examined Aguilera’s lyrics in terms of what messages they bring and who their narratees might be, all in accordance with feminist narratology. Secondary sources from the fields of popular music studies, media studies and gender studies as well as interviews with and about Aguilera and biographies have been consulted.</p>

<p>African American Vernacular English, AAVE, is a variant of English spoken mostly by lower-class black citizens in the US. Since the most popular music genre among African Americans today is rap, this paper will describe what characterizes AAVE and rap music, and explore the use of AAVE in rap lyrics of both black and white rappers.</p><p>AAVE is different from Standard English in several respects; grammatically, phonologically and lexically. Examples of grammatical features in AAVE are invariant be, double negations and the differing use of possessive pronouns.</p><p>The hip hop industry has been, and still is, largely dominated by black performers, and white artists make up only a minority of rappers in the line of business today. Rappers being part of a larger culture, the hip hop nation, they have a language in common, and that language is AAVE. In this paper, a number of lyrics performed both by black and white rap artists have been compared and analyzed, in search of linguistic features of AAVE. This study provides evidence that AAVE is indeed used in rap lyrics, although the use of its features is often inconsistent. It is also shown that AAVE-presence in white rappers’ lyrics exists, but is sparser than in the works of their black equivalents.</p>