A Mother and Son Khilim records some of the images and myths from 22000 BCE to the present which locate the Oedipus myth in a history that makes sense of my emotional and intellectual responses to it. This chapter includes summarises of the story and its forbears which the reader will need to hold in mind through the later chapters of the thesis. A Sampler - Hypotheses, Questions, Themes introduces the main arguments as well as a summary of my conclusions from the inquiry, and some poetry and other writing which is intended to establish an atmosphere for the work. Oedipal Kings: Abandoned Boys and the Patriarchal Pattern provides an analysis of Sophocles' King Oedipus in support of my hypothesis that he is the mythic father of patriachal social structures and, therefore, that his life story might be viewed as a template for the formation of new patriachs. The chapter also includes a study of some contemporary eminent men in which I focus on the way early experiences of abandonment typically affect their adult behaviours. Silent Women presents Queen Jocasta as archetypal disempowered mother/ wife along with four contemporary women. The true self of each of the contemporary women was mute for many years as a result of negative or absent paternal experiences during adolescence. The Social Ecology of Mythic Thebes: A Study of Fate and Destiny in Patriarchal Culture extrapolates Jung's ideas about causality and teleology in individuals to the cultural setting of Oedipus's city state. The chapter concludes by contrasting the continuing disaster in Thebes with Oedipus's achievement of individuation. Resounding the silence is the title of the cycle of songs I wrote. This section includes the lyrics of all the songs. / Master of Science (Hons) (Social Ecology)

Denna studie handlar om vilken sorts matematiska begrepp som barnen i förskolan möter i sångtexter. Den har även analyserat vilken kunskap förskollärarna säger att de tror sångtexterna förmedlar och hur mycket de använder sig av sången i den dagligaverksamheten. I studien har tre kvalitativa intervjuer med pedagoger genomförts på olika förskolor, och analyser av nio sångtexter har gjorts.Frågeställningarna var: Vilka matematiska begrepp finns i de sångtexter barnen möter på förskolan? Vilka kunskaper säger pedagogerna i förskolan sig tro att sångtexterna ger barnen? Hur mycket använder sig pedagogerna av musik och sång i verksamheten? För att få reda på vilken sorts matematik och vilka begrepp som fanns i sångerna så analyserades sångtexterna och olika ”kategorier” undersöktes. De som hittades var: rumsuppfattning, tid, vikt och längd, form och räkneord. I intervjuerna framkom att barn lär sig väldigt mycket när de sjunger enligt pedagogerna. Alla pedagogerna var överens om att barnen lär sig språk och matematik genom att sjunga. Studien kom fram till att på avdelningarna där de intervjuade pedagogerna arbetar sjunger man varje dag, både spontant och inplanerat. / This study is about what kind of mathematics children in preschool encounter in song lyrics. The study has focused on what kind of knowledge preschool teachers think that the song lyrics conveys and how much they use music during the day. In the study three qualitative interviews were conducted with teachers at different preschools, and nine lyrics were analyzed. The research questions are: What mathematical concepts do children meet in song lyrics in preschool? What knowledge do teachers say they believe that the song lyrics convey to the children?How much do the teachers use music and song in their work? To find out what kind of mathematics there was in the music, lyrics were analyzed and different “categories” were found. These were: spatial perception, time, weight and length, shape and numbers. From the interviews it was concluded that teachers believe children learn very much when they sing. All teachers agreed that children can learn language and maths from song. The study concluded that in the preschool groups where the interviewed teachers work they sing every day, both spontaneously and according to schedule.

‘Taarab’ is a popular music entertainment in East Africa whose origin is ‘contentiously’ given as Middle East. It is an art form imported to East Africa perhaps in the early years of the 1900s. Taraab has been ariedly looked at, but has generally been seen as a uniform body. This essay sets out to show that from its inception in East Africa, taarab has never been uniform as it started to develop its own characteristics and peculiarities as a performing art. It has been undergoing a number of changes in its musical and lyrical structures. It moved outward to become a popular music instead of being court music, and from being coastal music to being a music that has spread out to inland Tanzania, Kenya, Uganda and Burundi, thus approximating musical structures of these regions as it is assuming new roles and functions. Although in our description we do in passing refer to the whole body of the art complex ‘taarab’, it is on the lyric that we focus on. This article is written on the basis of findings from field work and library research that have been conducted from 2000 to date in a project entitled Local and Global Aspects of Taarab: A Popular Music Entertainment in East Africa, under the umbrella topic “Lokales Handeln in Afrika im Kontext globaler Einflüsse”, funded by Deutsche Forschungsgemeinschaft (DFG).

This thesis is focused on the poetics of the czech hip hop lyrics. Analyzed texts increasingly represent the mainstream hip hop as a musical style and capturing the period from the beginining of the nineties until almost the present day. It deals with the appereance and description of the recurring patterns, their changeability in time, or sometimes even this what these schemes beyond. It also deals with the description of the specific atributs typical for certain kind of authors. The thesis is based on hermeneutics and poetics or stylistics.

Esta dissertação tem como objeto de estudo a interpretação da expressividade fônica, lexical, sintática e enunciativa, aliada aos aspectos semânticos que envolvem os estudos de estilística linguística. O corpus abrange as letras de dez canções populares do cantor e compositor Deusamar Santos, artista notadamente reconhecido em sua localidade e que representa a cultura de Balsas, município do interior do Maranhão. O estudo se relaciona com o tema e com a realidade sociocultural contidos nessas canções. A linguagem da canção popular representa um recorte da língua em uso e atua como marca de caracterização de um grupo de falantes de uma região, ou seja, o léxico regional. O lirismo temático contido nas letras dessas composições está expresso na exaltação ao rio Balsas e à cidade homônima. A análise estilística com base nos diferentes estratos possibilita descrever a estrutura do texto e depreender significados interessantes do universo linguístico e cultural do local, como contribuição para o desvelamento de particularidades importantes da língua / This paper has as its object of study the interpretation of phonic, lexical, syntactic and enunciative expressiveness, coupled with the semantic aspects that involve the study of linguistic stylistics. The corpus encompasses the lyrics of ten popular songs of singer-songwriter Deusamar Santos, a notably well-known artist in his hometown and that represents the culture of Balsas, an inland city of Maranhão. The study relates to the topic and the sociocultural reality contained in these songs. The language of popular songs represents a sample of language in use and serves as a mark of characterization of a group of speakers of a region, i.e. the regional lexicon. The thematic lyricism found in the lyrics of these compositions is expressed in the exaltation of the Balsas River and the namesake city. The stylistic analysis based on different strata enables us to describe the structure of the text and infer interesting meanings from the local linguistic and cultural universe, as a contribution to the unveiling of important features of the language

Esta dissertação tem como objeto de estudo a interpretação da expressividade fônica, lexical, sintática e enunciativa, aliada aos aspectos semânticos que envolvem os estudos de estilística linguística. O corpus abrange as letras de dez canções populares do cantor e compositor Deusamar Santos, artista notadamente reconhecido em sua localidade e que representa a cultura de Balsas, município do interior do Maranhão. O estudo se relaciona com o tema e com a realidade sociocultural contidos nessas canções. A linguagem da canção popular representa um recorte da língua em uso e atua como marca de caracterização de um grupo de falantes de uma região, ou seja, o léxico regional. O lirismo temático contido nas letras dessas composições está expresso na exaltação ao rio Balsas e à cidade homônima. A análise estilística com base nos diferentes estratos possibilita descrever a estrutura do texto e depreender significados interessantes do universo linguístico e cultural do local, como contribuição para o desvelamento de particularidades importantes da língua / This paper has as its object of study the interpretation of phonic, lexical, syntactic and enunciative expressiveness, coupled with the semantic aspects that involve the study of linguistic stylistics. The corpus encompasses the lyrics of ten popular songs of singer-songwriter Deusamar Santos, a notably well-known artist in his hometown and that represents the culture of Balsas, an inland city of Maranhão. The study relates to the topic and the sociocultural reality contained in these songs. The language of popular songs represents a sample of language in use and serves as a mark of characterization of a group of speakers of a region, i.e. the regional lexicon. The thematic lyricism found in the lyrics of these compositions is expressed in the exaltation of the Balsas River and the namesake city. The stylistic analysis based on different strata enables us to describe the structure of the text and infer interesting meanings from the local linguistic and cultural universe, as a contribution to the unveiling of important features of the language

This thesis is about composing music which originates from the possibilities of the voice. With the different qualities of the voice in focus one can discover how the musical choices you make have a direct impact on the direction and meaning of the music itself. The purpose of this project is to deepen the understanding of the voice as an instrument and further uncover how to use the qualities of the voice as inspiration in composing music and lyrics. By mapping the qualities of the voice I realized how techniques, sounds, expressions and skills are connected and was able to create an artistic framework on which I could base my compositions. I wrote five new compositions, all with different vocal focus points. As a result, I discovered how my extended awereness of my instrument contributed to the energy and direction throughout the concert performance of the compositions.

The Vietnam War and subsequent protest movement remains one of the most tumultuous times in U.S. history. This thesis is an attempt to define and describe the protest movement as well as the varied popular protest songs that came from this era. Building on a previous study written by Elizabeth Kizer, this thesis creates sub-categories in which the protest music falls into. The first two chapters of this study help by giving historical context to the songs by describing the Vietnam War and then the protest movement in the U.S. The final chapter then deals with popular protest songs that appeared on the Billboard charts between 1960 and 1969.

The lyrical content of pop music has rarely been studied, particularly for country music. The lyrics of the top 50 country songs for each year between 1994 and 2013 were coded for violent, sexual and substance use-related content. Violence had increased, as had sexual references, substance use, and substance use associated with sexual activity. Of particular note is the frequency of references to alcohol; 21% of the 1,000-song sampling frame contained alcoholic references, and the average for the final five-year period (2009-2013) was 1.01 references per song. This research should serve as a springboard into further studies about the lyrical content of pop songs as well as longitudinal changes.

Research on heavy metal music has traditionally been framed by deviant characterizations, effects on audiences, and the validity of criticism. More recently, studies have neglected content analysis due to perceived homogeneity in themes, despite evidence that the modern genre is distinct from its past. As lyrical patterns are strong markers of genre, this study attempts to characterize heavy metal in the 21st century by analyzing lyrics for specific themes and perspectives. Citing evidence that the “Millennial” generation confers significant developments to popular culture, the contemporary genre is termed “Millennial heavy metal” throughout, and the study is framed accordingly. Utilizing prominent metal albums from the 2000-2009 decade, 250 randomly selected songs are analyzed for the inclusion of 115 different themes and their contextual usage. The frequency of each theme is then ranked by prevalence in order to illustrate common focus in the genre. Results showed that themes of death, storytelling, violence, and social commentary prevail; overall, accentuated topics and their usage point to an aptitude for confronting tenebrous realities and personal attempts to understand them. Characteristic connections between Millennial metal and the Millennial generation are also noted through emphasized individuality, social awareness, and civil liberalism