This bachelor’s thesis investigates the transformation of a musical composition when its lyrics are translated from the written original language into another. It examines how creating a new composition based on the translated lyrics, aspiring to maintain the language’s natural melodic flow, impacts the character of the composition.  Utilizing diverse composition methods and techniques revolving around lyrics, I have composed a series of six compositions. This collection consists of an equal distribution of lyrics in the Swedish and the English languages, allowing for a comparative analysis of how the choice of language influences the harmonic, melodic, and emotional dimensions of each piece, despite the lyrics having the same content. The culmination of this venture was presented at my Bachelor’s recital held at the University of North Texas. / <p>When Sunny Gets Blue (musik: Marvin Fisher text: Jack Segal)</p><p>När sol går i moln (Märta Dahlsytöm)</p><p>You’re A Ten (Märta Dahlström)</p><p>Du är en tia (Märta Dahlström)</p><p>Skynda långsamt (Märta Dahlström)</p><p>Hurry Slowly (Märta Dahlström)</p><p>Ellen (Märta Dahlström)</p><p>Medverkande musiker: Märta Dahlström, sång och komposition, Isaiah Nygard, Piano Paul Briggs, Bas, Michael Rodenkirch, trummor.</p><p></p><p>Märta Dahlström Senior Recital / Examenskonsert:</p><p>https://www.youtube.com/watch?v=KWgnq49MyIs</p>

The aim of the study is to examine how songs are included in Swedish EFL coursebooks aimed at the courses English 5 and English 6, what functions they serve and what this communicates about the pedagogical value of songs for EFL teaching and learning. This study also aims to examine what differences there are in the inclusion and usage of songs targeting the different courses. The material was gathered through a content analysis of six coursebooks, three aimed at English 5 (Viewpoints 1, Solid Gold 1, and Blueprint A Version 3.0) and three intended for use in English 6 (Viewpoints 2, Solid Gold 2, and Blueprint B Version 2.0). The books were analysed by applying the concepts of explicit and implicit communications of pedagogical value through the lens of Krippendorff’s approach to textual analysis (Krippendorff, 2019, p. 29). The results show that most differences in the inclusion and usage of songs in the coursebooks targeting the different courses relate to how songs are included, but also that there are significant differences in how the songs are used. Furthermore, the results also show that the inclusion and usage of songs in the examined coursebooks convey conflicting messages about their pedagogical value. The usage of songs shows that there is a reliance on the intrinsic pedagogical value of songs for EFL teaching and learning. Nonetheless, songs are used sparingly in relation to other text types in the coursebooks.

目前大部分的聽眾主要是透過歌詞與樂曲的搭配來了解音樂所要表達的內容，因此歌詞創作在目前的音樂工業是很重要的一環。一般流行音樂創作是由作曲人與作詞人共同完成，然而有另一種方式是將既有的詩詞做為歌詞，接著重新譜曲的方式產生新的流行音樂。這種創作方式是讓舊有的詞或曲注入新的生命力，得以流傳到現在。因此本研究希望可以為一首旋律推薦適合配唱的歌詞，以對數位音樂達到舊曲新詞的加值應用。本論文包括兩個部分，分別為：(1)自動分析歌詞的詞式，找出每個段落的位置與其段落的標籤；(2)詞曲結構搭配，找出相符合結構的詞與曲，並且同步每個漢字與音符。 本論文的第一部分為詞式分析，首先將歌詞擷取四個面向的特徵值，分別為(1)句字數結構；(2)拼音結構；(3)詞性；(4)聲調音高。第二步驟，利用這四種特徵值分別建立詞行的自相似度矩陣(Self Similarity Matrix)，並且利用這四個特徵的自相似度矩陣產生一個線性組合自相似度矩陣。第三步驟，建立在自相似度矩陣上我們做段落分群以及家族(Family)組合找出最佳的分段方式，最後將找出的分段方式利用我們整理出來的規則讓電腦自動標記段落標籤。第二部分為詞曲結構搭配，首先我們將主旋律的樂句以及歌詞的詞句做第一層粗略的對應，第二步驟，將對應好的樂句與詞句做第二層漢字與音符細部的對應，最後整合兩層對應的成本當做詞曲搭配的分數。 我們以KKBOX音樂網站當做歌詞來源，並且請專家標記華語流行歌詞資料庫的詞式。實驗顯示詞式分析的Pairwise f-score準確率達到0.83，標籤回復準確率達到0.78。詞曲結構搭配中，查詢的歌曲其原本搭配的歌詞，推薦排名皆為第一名。 / Nowadays, lots of pop music audiences understand the content of music via lyrics and melody collocation. In general, a Chinese pop music is produced by composer and lyricist cooperatively. However, another producing manner is composing new melody with ancient poetry. Therefore, we want to recommend present lyrics for a melody and then achieving value-added application for digital music. This thesis includes two subjects. The first subject is lyrics form analysis. This subject is finding the block of verse, chorus, etc., in lyrics. The second subject is structure alignment between lyrics and melody. We utilize the result of lyrics form analysis and then employ a 2-tier alignment to recommend present lyrics which is suitable for singing. In lyrics form analysis, the first step, we investigate four types of feature from lyrics: (1) Word Count Structure; (2) Pinyin Structure; (3) Part of Speech Structure; (4) Word Tone Pitch. For the second step, we utilize these four types of feature to construct a SSM(Self Similarity Matrix), and blend these four types of SSM to produce a linear combination SSM. The third step is clustering blocks and finding the best Family combination based on SSM. Finally, a rule-based technique is employed to label blocks of lyrics. For the second subject, the first step is aligning music phrases and lyrics sentences roughly. The second step is aligning a word and a note for corresponding phrase and sentence. Finally, we integrated the cost of two-level alignment regarded as the lyrics and melody collocation score. We collect lyrics from KKBOX, a music web site, and invite experts label ground truth of lyrics form. The experimental result of lyrics form analysis shows that the proposed method achieves the Pairwise f-score of 0.83, and the Label Recovering Ratio of 0.78. The experiment of structure alignment between lyrics and melody shows that the original lyrics of query melodies are ranked number one.

L’utilisation de la musique comme outil de préparation mentale est très répandue chez les athlètes olympiques. Cependant, cette pratique a reçu peu d’attention parmi les chercheurs. Ainsi, la présente étude a deux objectifs, soit (a) de recenser les fonctions de la musique dans le contexte sportif et (b) d’explorer les messages véhiculés par les paroles de chansons. Pour ce faire, des entrevues semi-structurées ont été menées auprès de dix athlètes olympiques québécois pratiquant des sports technico-artistiques. De plus, les athlètes ont pris part à une tâche musicale qui consistait à écouter la chanson qui avait le plus fortement marqué leur carrière athlétique et noter tous les souvenirs évoqués par cette chanson. L’analyse des données par théorisation ancrée démontre que les athlètes utilisent la musique comme outil de préparation mentale pour deux raisons principales : (1) pour déclencher ou (2) pour réguler des processus psychologiques tels que la concentration, la visualisation et les émotions, ce qui est bénéfique à la performance sportive. Cependant, si elle n’est pas utilisée de la bonne manière, la musique peut altérer les processus psychologiques et donc nuire à la performance. De plus, l’analyse des paroles des chansons qui avaient le plus fortement marqué la carrière sportive des athlètes indique que le message véhiculé par ces chansons est très similaire d’une chanson à l’autre. Les implications pratiques de l’utilisation de la musique dans les situations sportives et les perspectives pour la recherche future sont discutées. / The use of music as a mental preparation tool is very common amongst Olympic athletes. However, this practice has received little research attention. Thus, the present study has two objectives: (a) to identify the functions of music in a sporting context and (b) to explore the messages conveyed by the lyrics. To this end, semi-structured interviews were conducted with ten Quebec Olympians practicing technico-artistic sports. In addition, athletes took part in a music task where they listened to the song that most influenced their athletic career and write all the memories evoked by the song. Data analysis by grounded theory demonstrates that athletes use music as a mental preparation tool for two main reasons: (1) to trigger or (2) to regulate psychological processes such as focus, visualization and emotions, which are beneficial to their athletic performances. However, if not used properly music can have a negative effect on these psychological processes and thus impair performance. Furthermore, analysis of the lyrics that most influenced the sport careers of the athletes reveals that the message conveyed by these songs is very similar from one song to another. Practical implications for using music in sport settings and suggestions for future research are discussed.

A sample of the top fifty songs of 1973 in Soul, Country-Western, and Easy Listening music is content-analyzed to determine dominant theme and type of love relationship presented. Most of the songs are about women and are sung by men. Hence, male artists continue to dominate the record industry. Criteria for evaluating direction of presentation are applied to lyrics to determine how men present women and women present men. Songs with the heterosexual theme are analyzed to determine conformity to six male and six female stereotypical traits. Males conform to the male stereotype in larger percentages than females conform to the female stereotype. Differences in female role expectations vary among the three genres.

This diploma thesis deals with the use of music and songs in teaching English as foreign language at B1 level. Its aims are the analysis of the song activities presented in various sources, creating the song activities, their pilotage in the classroom and subsequent evaluation. It is divided into five chapters. The theoretical part deals with listening comprehension as a skill, its relation to other skills, its definitions, reasons for teaching listening comprehension, its principles, approaches towards teaching listening comprehension and sources of listening comprehension activities. Furthermore, the development of language skills at intermediate level is presented and the essential parts introduces reasons for using songs in the development of listening comprehension skills, alternative use of music and songs and classification of song activities. The practical part covers the analysis of the song activities presented in three different course books at intermediate level and their comparison with the song activities presented in other sources. The research examines the application of the chosen song activities in practice and students' perception of them. . Key words: Listening comprehension skill, song activities, motivation, listening to songs, lyrics

The topic of the present paper is the translation of the French chanson into Czech. The paper focuses on the analysis of eight lyrics from the repertoire of G. Brassens, J. Brel and E. Piaf (the translators are J. Dědeček, P. Kopta, M. Balejová and S. E. Brandejsová). The paper examines prevailing functional characteristics of the originals and the extent to which these have been maintained in the various Czech translations. Special attention is given to the relation between semantic accuracy and "successful" translations, meaning here translations which maintain the prevailing functional characteristics of the original. Preceding the analysis is the theoretical part of the paper in which we introduce some terms and theoretical models applied by theoreticians in the field of translation (J. Levý, K. Reiss, P. Low), insofar as these terms and models are relevant to the topic.

The work is a summary reflection on reading lyrical text and reader's understanding. It consists of two major topics - narratology and poetics of lyric poem - which are dissolved in the body of the work because of their meeting and direct confrontation. The third major circuit also dissolved in the body of work so that it can be functional for each complete part is poetry of Jiří Orten. Narratology now appears as a universal approach to the analysis of art (besides the literary text also film work, theater performances, paintings, etc., etc.). Poetics of lyric poetry is still adrift in a similar methodology. Considerations of this work are based on the assumption that narrative is one of the fundamental noetic structures of the human mind, and that storytelling is organizing principle of the human psyche. Based on this assumption the phenomenon of lyrical poem approaches to man as a kind of narratives that makes up a fictional world. Thoughts on the fictionality of poems, largely based on Doležel concept of fictional worlds is herein supported by Miroslav Červenka studie Fictional worlds of lyrical poetry. One of the last works of Červenka is confronted with other theoretical considerations on this subject (especially M.-L. Ryan, W. Iser and also U. Eco). Likewise this work is becomes a place of...

Publicado em 1869 configurando-se, portanto, como obra póstuma o conjunto de poemas do livro Petits Poèmes en Prose, de Charles Baudelaire, mostra-se, diante da crítica, como um enigma em dois níveis: no primeiro, como projeto de um sujeito poético que contrasta com a locução lírica de Les Fleurs du Mal; e no segundo, como gênero que desafia os lugares formais, convencionalmente dedicados à poesia e à prosa. A partir deste problema, o presente estudo tem por objetivo analisar a aventura do poema em prosa de Baudelaire, respeitando sua dicção singular, e sem esquecer de situá-la em toda a fortuna crítica a respeito do gênero. Para tanto, recupera-se o ambiente enunciativo destes poemas em prosa; considerando, inicialmente, os lugares e funções da oposição poesia/prosa no Século XIX, e, depois, ligando essas pesquisas às particularidades da poética de Baudelaire. No trato com a matéria verbal, a partir da observação do uso de apostos e construções em sequência, relacionar a reflexão teórica a uma lírica dita moderna, a uma poética do incerto, mostrou-se fértil, conferindo ao trabalho uma abertura em direção ao incompleto como projeto de escritura. / Published in 1869 therefore, a posthumous work the collection of poems of the book Petits Poèmes en Prose, by Charles Baudelaire, presents itself to the critics as a two-level enigma: on the first one, as a project with a poetic subject that contrasts itself with the lyrical locution of Les Fleurs du Mal; and on the second level, as a genre that challenges the formal places conventionally dedicated to prose and poetry. Starting at this problem, the present paper has the objective of analyze the adventure of Baudelaires prose poetry, respecting his singular diction and never forgetting to place it over all the critical wealth of the genre. Therefore, these poems enunciative ambient is recovered in prose; considering initially the places and functions of the poetry/prose opposition in the XIX Century and, later, linking this research to the peculiarities of baudelairean poetics. From the relationship with the verbal matters and the observation of the use of appositives and sequential constructions, it establishes a relationship between the theoretical reflection and a so-called modern lyrics, a poetics of the uncertain that has shown itself as a fertile ground, giving the work an openness in the way of the incomplete as a scriptural project.

Made available in DSpace on 2016-08-10T11:07:33Z (GMT). No. of bitstreams: 1 Gracina de Jesus Cardoso Soares.pdf: 489631 bytes, checksum: 50dc00126b807a670d5fdc3c6b65b511 (MD5) Previous issue date: 2011-03-29 / This paper proposes a critical reading of selected texts from the general work of Gilberto Mendonça Teles, considering the body of his erotic poetry, as well as the critical dimension that appears in his poems, knowing be he a writer who is toned between creating poetry and literary criticism. Despite acknowledging the extent and significance of the entire gilbertian work, we chosen as the central object in this paper, the following titles: Plural de Nuvens & Cone de Sombras, who pool their poems written in the 80s, an age in which literary production in Brazil, an erotic theme surfaced most erotic and more distant from that which was recognized as pornography. Thus, these two items will be taken on a joint analysis in an attempt to reveal the quintessence of the author which is the word, slave and free into exile within each text. It is this word in Gilberto Mendonça Teles wins senses and acquires corporeality in its lyrical reveries, discover their condition of transience, while it installs the dialogue between the various strata of language and sits on its universal and eternal. / Este trabalho propõe uma leitura crítica de textos selecionados da obra de Gilberto Mendonça Teles, considerando o corpo erótico de sua poesia, como também a dimensão crítica que presente em seus poemas, lembrando, de antemão, ser ele um escritor que se divide entre a criação poética e a crítica literária. Não obstante reconhecermos a extensão e o significado de toda a obra gilbertiana, escolhemos como objeto central neste trabalho os títulos: Plural de nuvens como & Cone de sombras, que reúnem os seus poemas escritos na década de 80, época em que, na produção literária no Brasil, aflorava uma temática erótica mais despojada e mais distanciada do que se reconhecia como pornografia. Dessa forma, estas duas obras serão tomadas numa análise conjunta, numa tentativa de desvelar a quintessência do autor que é a palavra, escrava e livre a se exilar por dentro de cada texto. É essa palavra que em Gilberto Mendonça Teles ganha sentidos e adquire corporeidade em seus devaneios líricos; descobre sua condição de transitoriedade, ao mesmo tempo em que instala o diálogo entre os vários estratos da linguagem e se assenta em sua dimensão universal e eterna.