It may be a vocable that grew out of lexicalized throat-clearing.
|
|
Refrains are common in haymaking songs. The most common vocable used is valio, hence — valiavimas, the term for the singing of haymaking songs. The vocable is sung slowly and broadly, evoking the spacious fields and the mood of the haymaking season. Haymaking songs evidence two distinct stages in their melodic development.
|
|
In the broadest sense of the word, a vocable is any meaningful sound uttered by people, such as a word or term, that is fixed by their language and culture.The Cambridge Companion to Saussure However, use in the broad sense is archaic. The term is currently used for utterances which are not considered words, such as the English vocables of assent and denial, uh-huh and uh-uh , or the vocable of error, uh-oh .Danesi (2004) A Basic Course in Anthropological Linguistics Such non-lexical vocables are often used in music, for example la la la or dum dee dum, or in magical incantations, such as abra- cadabra.
|
|
"How Samantha Fox and Marc Mysterio want to help dance music" 25 September 2009. Among the samples used is a vocable from "Just That Type of Girl" by Madame X and "Yamsaharny" by legendary singer Umm Kulthum. The "Black Pyramid Mix" was produced by electronic music producer Kevin Saunderson.
|
|
The shepherds bewail their fate and ask mother Sun to warm them, or the clouds to move on. The raliavimai or warbles are also recitative type melodies, distinguished by the vocable ralio, which is meant to calm the animals. The raliavimai have no set poetic or musical form. They are free recitatives, unified by the refrains.
|
|
There were Urdu dictionaries before this, but they described Urdu vocable either in Persian or in English (because of the emergence of British Raj). These dictionaries contained mostly common words and idioms and had limited extent. This was the first Urdu-to-Urdu dictionary. During its compilation, Syed Dehlvi’s health worsened and he got into monetary issues.
|
|
The song begins with humming and an arrangement of vocable singing which are overdubbed in reverse. Just before the end of the second verse, vari-speed is used to increase the pitch and tempo. Vari-speed is used again near the end of the third verse, and a backwards portion of the lyrics is overdubbed over the instrumental coda. Many experts on unreleased Beatles recordings are unconvinced.
|
|
In 2009, a 1976 video of Khil singing a non- lexical vocable version of the song "I am very glad, as I'm finally returning back home" () was uploaded to YouTube and became known as "Trololol" or "Trololo". The name "Trololo" is an onomatopoeia of the distinctive way Khil vocalizes throughout the song. The video quickly went viral and Khil became known as "Mr. Trololo" or "Trololo Man".
|
|
The melodies of earlier origin are similar to other early work songs, especially rye harvesting songs, which take a central position in the work song repertoire. Later haymaking songs have a wider modal range and are structurally more complex. Most are in major and are homophonic. However, both types of songs contain the vocable valio — in the northern Highlands (Aukštaitija) as well as in Samogitia.
|
|
The word "Marabá" derives from the indigenous vocable "Mayr-Abá", which simply means "son of the indigenous woman with a white man." A poem written by poet Gonçalves Dias inspired by the merchant Francisco Silva to its commercial name of "Casa Marabá" (Maraba House). This was located the banks of the Tocantins River, and served as a strategic business point for exchanging all kinds of products and services.
|
|
Jacques Thirion, Saint-Trophime d'Arles dans Congrès Archéologique de France - 1976 - Pays d'Arles, page 360: :""Cette nouvelle cathédrale (note : Saint-Trophime), bâtie en exploitant les monuments romains tout proches, fut placée, comme l'atteste la Vie de saint Hilaire écrite après 461, sous un vocable dont la vogue était toute récente, celui de saint Etienne, dont les reliques avaient été découvertes en 415."" In the 15th century a Gothic choir was added to the Romanesque nave.
|
|
A figurine of a dholi. Dhol Sagar (Hindi; literally "ocean of drumming") is an ancient Indian treatise on the art of playing the dhol damau, the folk instruments of the Garhwal region of Uttarakhand. It does not exist in a complete printed form, as it was transmitted orally (through percussive verses and vocable syllables) or empirically within the traditional drumming families. It is believed to have mythical origins and its existence has only been confirmed by local scholars and practitioners.
|
|
Pibroch is properly expressed by minute and often subtle variations in note duration and tempo. Traditionally, the music was taught using a system of unique chanted vocables referred to as Canntaireachd, an effective method of denoting the various movements in pibroch music, and assisting the learner in proper expression and memorization of the tune. The predominant vocable system used today is the Nether Lorn canntaireachd sourced from the Campbell Canntaireachd manuscripts (1797 & 1814)Campbell Canntaireachd Volume 1. 1797, NLS MS 3714.
|
|
Pygmy drummers, 1930 Pygmy music refers to the sub-Saharan African music traditions of the Central African foragers (or "Pygmies"), predominantly in the Congo, the Central African Republic and Cameroon. Pygmy groups include the Bayaka, the Batwa. Music is an important part of Pygmy life, and casual performances take place during many of the day's events. Music comes in many forms, including the spiritual likanos stories, vocable singing and music played from a variety of instruments including the bow harp (ieta), ngombi (harp zither) and limbindi (a string bow).
|
|
Canntaireachd (; ) is the ancient Scottish Highland method of notating Piobaireachd, also spelt Pibroch, referred to more generally as Ceòl Mòr (literally the "big music"), an art music genre primarily played on the Great Highland bagpipe. These long and complex theme and variation tunes were traditionally transmitted orally by a combination of definite vocable syllables. In general, the vowels represent the notes, and consonants the grace notes, but this is not always the case, as the system has inconsistencies and was not fully standardized. Pipers have used musical staff notation to read and write pibroch tunes since the early nineteenth century.
|
|
Nevertheless, Cambell's Nether Lorn Canntaireachd was adopted by the Piobaireachd Society in their publications and has become the most commonly used vocable system. Another related system of Canntaireachd was published by Niel McLeod of Gesto, reputedly taken down from the chanted singing of John MacCrimmon, one of the last practicing members of that esteemed piping family. The MacArthur family of pipers are reported to have had their own oral form of Canntaireachd system that was not documented. A further variety of Canntaireachd and distinct collection of pibroch tunes was sourced from Simon Fraser, whose family emigrated to Melbourne in the 19th century.
|
|
"The Harper's Land (Hi ri ri ri ho)" is a possible harp tune with a vocable title collected by Oswald that consists of a recurring theme and two variations. Kinnaird plays a modern lever harp and Ann Heymann plays a replica early Irish wire-strung clairseach harp. Kinnaird has recently also performed and recorded revived ceòl mór on a replica early Scottish wire-strung clarsach harp.Alison Kinnaird, "Cumh Ioarla Wigton (Lament for the Earl of Wigtown)" and "Cumha Eachainn Ruaidh nan Cath (Lament for Red Hector of the Battles)", on The Silver String (CD), 2004, Temple Records CD2096.
|
|
Iturbide has also photographed Mexican-Americans in the White Fence (street gang) barrio of Eastside Los Angeles as part of the documentary book A Day in the Life of America (1987). She has worked in Argentina (in 1996), India (where she made her well-known photo, "Perros Perdidos" (Lost Dogs)), and the United States (an untitled collection of photos shot in Texas). One of the major concerns in her work has been "to explore and articulate the ways in which a vocable such as 'Mexico' is meaningful only when understood as an intricate combination of histories and practices." She is a founding member of the Mexican Council of Photography.
|
|
The song's lyrics take the form of a first-person lament, as the singer describes his struggles to overcome loneliness and poverty in New York City. The final verse switches to a third-person sketch of a boxer, who, despite the fact that "he carries the reminders of every glove that laid him down or cut him till he cried out", "I am leaving, I am leaving"—"but", the lyrics continue, "the fighter still remains." The chorus consists of repetitions of the non-lexical vocable "lie-la-lie". Simon stated that this was originally intended only as a placeholder, but became part of the finished song.
|
|
Eduard Anatolyevich Khil ( (often anglicized as Edward Hill); 4 September 1934 – 4 June 2012) was a Soviet-Russian baritone singer and a recipient of the People's Artist of the RSFSR. Khil became known to international audiences in 2010, when a 1976 recording of him singing a non-lexical vocable version of the song "I Am Very Glad, as I'm Finally Returning Back Home" () became an Internet meme, often referred to as "Trololol" or "Trololo", as an onomatopoeia of the song, or as the "Russian Rickroll", and, as such, the song was commonly associated with Internet trolling. The song's newfound prominence in Internet culture led him to adopt Mr. Trololo as a stage name.
|
|
The Benedictine abbey of Our Lady of Déols was founded in 917 by Ebbes the Noble, prince of Déols. He gave his palace, originally the villa of Saint Ludre according to legend, to the monks in order to build a monastery and transferred his residence to Châteauroux, where the monks of Saint-Gildas-de-Rhuys in Brittany took as well refuge from Norman raids from 920 to 1008 with the relics of Saint Gildas, and founded another abbey under his vocable. The name of the new town comes from Château Raoul, the castle overlooking the river Indre built about west by Raoul, son of Ebbes, rebuilt in the 15th c. and later seat of the Préfet, then departemental assembly.
|
|
Guillaume's ongoing analysis of words led him to view each word type or part of speech as the means of incorporating certain syntactic possibilities into words themselves, to be deployed in the sentence. The challenge this poses for a linguist is to find the means of analyzing the preconscious mental operations, the "psychomechanisms" as he called them, giving rise to each part of speech. This in turn led him to examine languages where words are not formed in this way and in his last years to suggest the bases for a general theory of the word, or as he used to say, the vocable, to avoid the danger of foisting the Indo- European type of word onto languages of a very different type.
|
|
2012] These features give the long song profound philosophical, meditational character, often depicting the spacious mountain valleys and a sense of tranquility, believed to represent the Mongolian soul. Three major styles are identified in long songs: besreg urtiin duu ("minor long song"), suman urtiin duu ("ordinary long song") and aizam urtiin duu ("major' or majestic long songs"). Again, the styles reflect the way of the performance of the shuranhai and other techniques rather than the sizes of the songs. The word ‘Aizam’ comes from the non-lexical vocable of ‘Aya, zee khu’ at the beginning of the grand long song, which features a broad melody with a context of philosophical theme, ceremony and quality of ode, honor, respect or solemnity.
|
|
Many of the early staff notated scores for modern pibroch published by Angus MacKay and authorised by the Piobaireachd Society are now considered by scholars to have been oversimplified, with standardisations of time signatures and editing out of ornamental complexities, when tunes are compared with versions in earlier manuscripts such as the Campbell Canntaireachd. The practice of canntaireachd singing remains the preferred means for many pipers to convey the musicality and pacing of pibroch performance when teaching or rehearsing a tune. Canntaireachd was first written down at the end of the 18th century in the Campbell Canntaireachd by Colin Campbell of Nether Lorn, Argyll. While his vocable system had its origins in chanted notation, the Campbell Canntaireachd is now considered to have been intended as a written documentation of the music, to be read rather than sung.
|
|