68 Sentences With "vocables" | Random Sentence Generator

The birds' phrasings are both melodic and mechanical, cyclical and spontaneous, like the wordless vocables of scat singers.

They were sung at prescribed times of the year while performing the appropriate rituals. There are songs of Shrovetide and Lent, Easter swinging songs, and Easter songs called lalavimai. The Advent songs reflect the mood of staidness and reflection. Christmas songs contain vocables such as kalėda, lėliu kalėda; oi kalėda kalėdzieka, while Advent songs contain vocables such as leliumoj, aleliuma, aleliuma rūta, aleliuma loda and others.

Songs can be identified by their refrains. Christmas songs, for example, contain vocables such as kalėda, lėliu kalėda; oi kalėda kalėdzieka, while Advent songs contain vocables such as leliumoj, aleliuma, aleliuma rūta, aleliuma loda and others. There are certain melodic differences as well. Songs of Advent and Christmas are the most long-lived in Lithuania and are still sung today in the southeastern area of Dzūkija.

The vocables serve a function similar to 'tra la la' or 'hey hey hey' in other song forms. Some waulking songs have a strict verse- and-chorus structure. In other songs, the vocables are sung at the end of each line of a verse. In a song like 'S Fliuch an Oidhche ('Wet is the Night'), also known as Coisich a Rùin ('Come on, My Love'), the last two lines of one verse become the first two lines of the following one.

Many Native American songs consist entirely of vocables; this may be due to both phonetic substitution to increase the resonance of the song, and to the trade of songs between nations speaking different languages.Golla (2011) California Indian Languages, §4.12.4 Vocables are common as pause fillers, such as um and er in English, where they have little formal meaning and are rarely purposeful. Pseudowords that mimic the structure of real words are used in experiments in psycholinguistics and cognitive psychology, for example the nonsense syllables introduced by Hermann Ebbinghaus.

In vocal jazz, scat singing is vocal improvisation with wordless vocables, nonsense syllables or without words at all. In scat singing, the singer improvises melodies and rhythms using the voice as an instrument rather than a speaking medium.

Non-lexical vocables, which may be mixed with meaningful text, are a form of nonsense syllable used in a wide variety of music. Common English examples would be "la la la", "na na na" or "da da da".

Norman delivered the non-lexical vocables over Alexander Courage's opening theme song for the first two seasons of Star Trek. The music was re-recorded without Norman’s voice for the show’s third season so the producers could avoid paying her royalties.

These songs are most similar to traditional songs of the Plains area, but are characterized by a rapid rhythm composed of two note values, transcribed as quarter and eighth notes. Vocables, or non-lexical syllables are used, as are cadential and closing formulas.

Melodies generally follow a descending pattern. Many songs, especially Drum Dances, ended with a vocal glissando and percussion break, along with a spoken thank you (mahsi). Vocables are very common. Songs are typically composed anonymously, though there are no taboos on anyone writing most songs.

He also compared the bridge's melodic non-lexical vocables to those in "Istanbul". The Factory Showroom recording features Julian Koster of Neutral Milk Hotel playing a musical saw. Linnell and Flansburgh call the effect of the saw "spooky".Flansburgh, John and John Linnell (1996).

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.

The title track, written by Carter and bassist Curtis Lundy consists of "scat vocables," until the end of the tune, where Carter quotes the final lines from the song "What's New?"Bauer, William R. Open the Door: The Life and Music of Betty Carter (Ann Arbor: The University of Michigan Press, 2002), 225.

Many songs use only a few real words, interspersed among numerous vocables, or non-lexical syllables like ai-ya-yainga. Inuit songs are strophic and mostly use six different pitches; textual and melodic motifs are common. A song's word length and accentuation determines the rhyhm, giving the songs a recitative-like style.

Milling songs are among the oldest work songs. The chronicler Alessandro Guagnini wrote of Lithuanian milling songs in the 16th century. The genre can be identified by characteristic refrains and vocables, such as zizui malui, or malu malu. They suggest the hum of the millstones as well as the rhythm of the milling.

The second part of the song often includes "honor beats," usually in the form of four beats representing cannon fire in battle. The entire song may be repeated several times, at the discretion of the lead singer. Many songs use only vocables, syllabic utterances with no lexical meaning. Sometimes, only the second half of the song has any lyrics.

Trallalero is a kind of polyphonic folk music from the Ligurian region of Genoa, in northern Italy. It is traditionally performed by men, though there are some female performers in the modern era. The name derives from the monosyllabic vocables (non-lexical vocalizations), tra-la-la. In the 1950s, American musicologist Alan Lomax and Diego Carpitella recorded trallalero.

There are several typical melodic characteristics associated with Christmas ritual songs, such as a narrow range, three-measure phrases, dance rhythms, a controlled slow tempo, and a tonal structure based on phrygian, mixolydian or aeolian tetrachords. Polyphonic St. John's Feast songs are commonly called kupolinės, which include refrains and vocables such as kupolėle kupolio, kupolio kupolėlio, or kupole rože.

Lilting is often added to the song, either after every second verse or once at the beginning and once at the end, to the same tune as the lyrics. While these vocables vary with the singer, one typical version is "hi dee diddley idle dum, hi dee doodle dydle dum, hi dee doo dye diddly aye day", repeated once.

This artificial dialect had Maithili as its basis to which Assamese and a sprinkling of Western Hindi was added.' In general, the vocables and idiomatic expressions of Brajavali were local (Assamese), while the inflectional forms were Maithili, easily understood by the people of Assam but carrying the flavor of Brajbhasa, the language of choice of the Bhakti poets.

This form is used throughout the traditional Plains-Pueblo Native American music where the first section uses vocables and the second uses meaningful words or lyrics. Typical formal schemes include ABC, BC, AABC, and ABC and each section uses a tile type melodic contour. Examples of AABC form include Tadd Dameron's "Lady Bird".Giddins, Gary (2004).

1, 1899, p.301 Personal names which resemble Haran include ha-ri and ha-ru, from texts of second millennium BC Mari and Alalakh, and ha-ar-ri, from one of the Amarna Letters—but their meanings are uncertain.H. Huffmon, Amorite Personal Names in the Mari Archives: A Structural and Lexical Study, 1965, p.204D. Sivan, Grammatical Analysis of Northwest Semitic Vocables, p.

Scat singing is a type of voice instrumental music. A scat is vocalized using wordless vocables and syllables (e.g. "bippity-bippity-doo- wop-razzamatazz-skoobie-doobie-shoobity-bee-bop-a-lula-shabazz") as employed by jazz singers. Scat singing gives singers the ability to sing improvised melodies and rhythms, to create the equivalent of an instrumental solo using their voice.

A Pattamar The Patamar (Portuguese), (, ),Sebastião Rodolfo Dalgado, Portuguese Vocables in Asiatic Languages, AES (Reprint Lisbon 1913 edn.) 1988, is a type of Indian Dhow. It was traditionally used in the western coast of the Indian subcontinent as a cabotage vessel between Gujarat and Ceylon, usually for the transport of rice. Some can still be seen on the Malabar Coast.

The phrase's repetition is changed slightly in each execution. Kan ha diskan can be songs about any subject, but must meet one of a number of a meters used in folk dances, mostly line or round. Vocables, or nonsense syllables (typically tra la la la leh no), are sometimes used to drag out lines. Usually a kan ha diskan lasts from 5 to 20 minutes.

No prose literature except proverb collections have been found written in Balti. Some epics and sagas appear in oral literature such as the Epic of King Gesar, and the stories of rgya lu cho lo bzang and rgya lu sras bu. All other literature is in verse. Balti literature has adopted numerous Persian styles of verse and vocables which amplify the beauty and melody of its poetry.

Usually, the genre involves a single performer singing lighthearted, often bawdy lyrics, although these are sometimes replaced with meaningless vocables. In puirt à beul, the rhythm and sound of the song often have more importance than the depth or even sense of the lyrics. Puirt à beul in this way resembles other song forms like scat singing. Normally, puirt are sung to a (Hornpipe) or (Jig) beat.

Obviously many other structures are possible, and can be described on the same principles, e.g. VC, VCV, CVCV. But the CVC trigrams have been studied most intensively; for example, Glaze determined association values for 2019 of them. The term nonsense syllable is widely used to describe non-lexical vocables used in music, most notably in scat singing but also in many other forms of vocal music.

The song comprises non-lexical vocables (abstract sounds rather than semantic words). This involves the heavy use of vowels and semi- vowels, as consonants would bias the song towards a particular tribe (whose language uses those consonants). The song is intended as an intertribal, therefore it is deliberately not language-specific. As is characteristic of many Native American songs, the song involves vocal harmony.

A speech disfluency, also spelled speech dysfluency, is any of various breaks, irregularities, or non-lexical vocables which occur within the flow of otherwise fluent speech. These include "false starts", i.e. words and sentences that are cut off mid-utterance; phrases that are restarted or repeated and repeated syllables; "fillers", i.e. grunts or non-lexical utterances such as "huh", "uh", "erm", "um", "well", "so", "like", and "hmm"; and "repaired" utterances, i.e.

The name Haran possibly comes from the Hebrew word har, = "mountain", with a West Semitic suffix appearing with proper names, anu/i/a.D. Sivan, Grammatical Analysis and Glossary of the Northwest Semitic Vocables in Akkadian Texts of the 15th-13th C., BC from Canaan and Syria, 1984, p.97-98 Thus, it has been suggested that Haran may mean "mountaineer".A Dictionary of the Bible: Dealing with its Language, Vol.

The term "bebop" is derived from nonsense syllables (vocables) used in scat singing; the first known example of "bebop" being used was in McKinney's Cotton Pickers' "Four or Five Times", recorded in 1928.Gleason, Ralph J. (15 February 1959) "Jazz Fan Really Digs the Language – All the Way Back to Its Origin". Toledo Blade. It appears again in a 1936 recording of "I'se a Muggin'" by Jack Teagarden.

A cappella could be as old as man itself. Research suggests that singing and vocables may have been what early humans used to communicate before the invention of language. The earliest piece of sheet music is thought to have originated from times as early as 2000 B.C. while the earliest that has survived in its entirety is from the first century A.D.: a piece from Greece called the Seikilos epitaph.

"Inori" (, ) is a song by Japanese band Sakanaction. An instrumental electronic track incorporating non-lexical vocables, "Inori" was a collaboration with the Japanese electronic musician Aoki Takamasa. The song originally appeared as the first song on the band's sixth studio album Sakanaction, released on March 13, 2013. Three months later, "Inori" was packaged with another instrumental song from Sakanaction, "Structure", as the Inori EP, a vinyl record-exclusive release.

Some commonalities are near universal among Native American traditional music, however, especially the lack of harmony and polyphony, and the use of vocables and descending melodic figures. Traditional instrumentations use the flute and many kinds of percussion instruments, like drums, rattles, and shakers.Ferris, p. 18–20. Since European and African contact was established, Native American folk music has grown in new directions, into fusions with disparate styles like European folk dances and Tejano music.

Canntaireachd : A system of non-lexical vocables, whose purpose is to encapsulate piobaireachd in a form which can be written or spoken while maintaining the precision normally offered only by written music. One of the most important sources in piobaireachd, the Nether Lorn manuscript, is exclusively written in canntaireachd. Ceòl Beag : Literally meaning little music, a Highland bagpiping term referring to, essentially, anything that is not piobaireachd. The term is of relatively recent origin.

One of the most widespread traditions is the visiting of fields between the feasts of St. John and St. Peter. The feast of St. John is also known as the Kupolė festival. Most of the St. John songs which have survived are found in northern Lithuania, including examples of the sutartinės. These polyphonic St. John songs are commonly called kupolinės, which include refrains and vocables such as kupolėle kupolio, kupolio kupolėlio, or kupole rože.

The song follows a basic sequence of F7–Bmaj7–F7–Bmaj7–Faug/G–F/A–F6/A–B/D–F6/A–B/D during the verses and coda and F7–Bmaj7–F7–Bmaj7–Faug/A at the chorus as its chord progression. The musical arrangement opens with an introduction, where West utters a series of ad-libs and onomatopoeic vocables atop tumbling delayed beats. He then begins rapping his lyrics, which are intertwined with a twinkling piano melody.

It is a dance music, performed by about fifteen people, including a lead singer and three percussionists, as well as a bell and a small stick of bamboo with horizontal grooves called an onugandu. Boduberu songs begin with a slow beat, which eventually enters a frenetic crescendo accompanied by frenetic dancing. Lyrics can be about any number of subjects, and often include vocables (meaningless syllables). Thaara music is performed by about 22 people seated in two rows opposite each other.

A true sean-nós singer will vary the melody of every verse, but not to the point of interfering with the words, which are considered to have as much importance as the melody. Sean-nós can include non- lexical vocables, called lilting, also referred to by the sounds, such as "diddly die-dely". Non-sean-nós traditional singing, even when accompaniment is used, uses patterns of ornamentation and melodic freedom derived from sean- nós singing, and, generally, a similar voice placement.

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.

The song is an uptempo number, inspired by 80s disco and dance music. It is about the struggles for equal rights regardless of ethnicity, gender identity and sexuality, given their long struggle in pursuit of equal rights. The music video of "Spirit in the Sky" was released on 4 April 2019. It contains some lyrics in the Northern Sami language, Čajet dan čuovgga ("Show me the light") and the non-lexical vocables, He lå e loi la as part of the yoiking segment.

Although it is often claimed that the song was the first Irish-language song to chart in the UK, the refrain uses a slowed- down lilting of non-lexical vocables from English folk music: "Fol lol the doh fol the day". Over previous albums, Clannad's sound had moved away from traditional Irish music arrangements, and the production of "Theme from Harry's Game", using lush slow layers of synthesiser and vocal harmony, marked the arrival of what would become their signature style for the next decade.

The Bishnupriya Manipuris and Their Language, Assam 1977,page 5,6 Orthodox Bishnupriyas hold that the language was carried over to Bishnupriya Manipuri by some immigrants from Dvārakā and Hastinapura just after the Mahabharata war. It is further said that these immigrants were led by Babhruvahana, the son of Chitrangada and Arjuna, the third Pandava. Some scholars and history writers came to support the Mahabharata origin of Bishnupriya Manipuri from observation of the morphology, the vocables, and the phonology of the Bishnupriya Manipuri language.Singha, Jagat Mohan & Singha, Birendra.

He was an eminent philologist, publishing, among other works, the Glossário Luso-Asiático in two volumes, full-text versions of which are available online today. He was also the author of outstanding works in the field of Portuguese Orientalism such as The Indo-Portuguese dialect of Ceylon; Konkani-Portuguese Dictionary; The Indo-Portuguese dialect of Mumbai and suburbs; Influencia do vocabulário português em línguas asiáticas (The Influence of Portuguese Vocables in Asian Languages); The Indo-Portuguese Dialects of Goa, Daman and Ceylon; Fundamentals of the Sanskrit language, and Indian Proverbs. His works have earned high praise, including that of Dr. Gonçalves Viana who appreciated his work The Influence of Portuguese Vocables in Asian Languages and said that perhaps no other wise person, Portuguese or foreign, could carry it out satisfactorily. The Brazilian philologist Dr. Solidonio Leite said that "Monsignor Dalgado could undertake and carry out those works that attest to exceptional value of this great man".Monsignor Rodolfo Dalgado (1855–1922) In recognition of his work in 1904, he received the honour of honorary chaplain of the Pope's extra urbem, with the right to use the title of "Monsignor".

Time magazine wrote that he rapped with an ability to "make multi-syllabic rhymes sound smooth", while Krims described his rhythmic style as "effusive". Before starting a verse, Wallace sometimes used onomatopoeic vocables to warm up his voice, for example "uhhh" at the beginning of "Hypnotize" and "Big Poppa", and "what" after certain rhymes in songs such as "My Downfall". Lateef of Latyrx notes that Wallace had "intense and complex flows".Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 100.

One of the founders of structuralism, Roland Barthes, attended Benveniste's seminars at École Pratique. Pierre Bourdieu was instrumental in publishing Benveniste's other major work, Vocabulaire des Institutions Indo-Européennes in his series Le Sens commun at radical publisher Les Éditions de Minuit (1969). The title is misleading: it is not a “vocabulary”, but rather a comprehensive and comparative analysis of key social behaviors and institutions across Germanic, Romance-speaking, Greco-Roman, and Indo-Iranian cultures, using the words (vocables) that denote them as points of entry. It makes use of philology, anthropology, phenomenology and sociology.

Kan ha diskan can be songs about any subject, but must meet one of a number of a meters used in folk dances, mostly line or round. Vocables, or nonsense syllables (typically tra la la la leh no), are sometimes used to drag out lines. Usually a kan ha diskan lasts from 5 to 20 minutes. In addition to the Goadecs, the singer Loeiz Ropars largely responsible for maintaining kan ha diskan's vitality in the middle of the 20th century, and the 1960s and 1970s revivalists drew largely on his work.

The definition of a jazz vocalist can be unclear because jazz has shared a great deal with blues and pop music since the 1920s. In their book Essential Jazz, Henry Martin and Keith Waters identify five main characteristics that identify jazz singing, three of which are: "Loose phrasing [...], use of blue notes [...], [and] free melodic embellishment." Often the human voice can act in place of a brass section in playing melodies, both written and improvised. Scat singing is vocal improvisation with wordless vocables, nonsense syllables or without words at all.

Stewart is remembered by his endearing viewers for his catchphrase "hot-diggity-dog" and non-lexical vocables like "bum-bum-barum" or "pum-pa- rum-pum". In 1961, Stewart was threatened with deportation when Diosdado Macapagal became the President of the Philippines. The TV network was being persecuted for supporting rival and former president Carlos P. Garcia in the 1961 presidential election. After announcing his departure during the show Uncle Bob's Lucky 7 Club, thousands of children, with the help of their parents, rallied behind him, writing letters showing their support.

His thesis focused on "Northwest Semitic in Akkadian texts from Ugarit" and was under the guidance of Professor Anson Frank Rainey. Sivan's thesis for his PhD degree, "Grammar of Northwestern Semitic Vocables in Akkadian Texts from the Land of Israel and Syria in the Middle Bronze Age", was written under the guidance of Professor Gideon Goldenberg and Professor Anson Frank Rainey. From 2009 to 2011, Sivan broadcast a weekly jazz program on Radio Darom. He was a member of the band "Koah Meshikha" (Gravity) in which he played the guitar and sang blues and jazz songs with his brother, Gabi Siboni.

Singing and percussion are the most important aspects of traditional Native American music. Vocalization takes many forms, ranging from solo and choral song to responsorial, unison and multipart singing. Percussion, especially drums and rattles, are common accompaniment to keep the rhythm steady for the singers, who generally use their native language or non-lexical vocables (nonsense syllables). Traditional music usually begins with slow and steady beats that grow gradually faster and more emphatic, while various flourishes like drum and rattle tremolos, shouts and accented patterns add variety and signal changes in performance for singers and dancers.

Large Creole bands that played for funerals and parades became a major basis for early jazz, which spread from New Orleans to Chicago and other northern urban centers. Trumpeter Louis Armstrong Though jazz had long since achieved some limited popularity, it was Louis Armstrong who became one of the first popular stars and a major force in the development of jazz, along with his friend pianist Earl Hines. Armstrong, Hines, and their colleagues were improvisers, capable of creating numerous variations on a single melody. Armstrong also popularized scat singing, an improvisational vocal technique in which nonsensical syllables (vocables) are sung.

The song switches between major and minor keys, a device which, according to scholar Timothy Taylor, reflects its rejection of fixed views of identity and social position. It thus implies that "Everyone is a scatterling, everyone is displaced by apartheid, [everyone] is left without a stable home or identity." As with other songs by Juluka, "Scatterlings of Africa" is influenced by Zulu "ngoma" dance and associated music, as seen in the repeated cycle of "vocables", rendered as "Ji oyi hmm, oyi hmm hmm" in the introduction. The phrase is sung with prominent bass and a heavy beat.

Amazonian shaman. Icaro is most commonly used to describe the medicine songs used by shamans in healing ceremonies, such as with the psychedelic brew ayahuasca. Traditionally, these songs can be performed by whistling, singing with the voice or vocables, or playing an instrument such as the didgeridoo or flute, and usually involve a mastery of advanced techniques to evoke the healing effects. Traditionally, icaros may come to a shaman during a ceremony, be passed down from previous lineages of healers, or come to a shaman during a 'dieta' where plant spirits are believed to teach icaros to the shaman directly.

But a student learning Turkish music in the traditional meşk system first memorizes the usul kinetically by striking the knees with the hands. The student then sings the vocal or instrumental composition while performing the underlying usul. This pedagogical system helps the student memorize the composition while internalizing the underlying rhythmic structure. Usul patterns have standard pronounceable vocables built from combinations of the syllables düm, dü-üm, tek, tekkyaa, teke, te-ek, where düm, dü-üm indicate a strong low beat of single or double duration, and tek, tekkya, teke, te-ek indicate various combinations of light beats of half, single or double duration.

Ellis is the first scholar who classified the Dravidian languages as a separate language family. Robert Caldwell, who is often credited as the first scholar to propose a separate language family for South Indian languages, acknowledges Ellis's contribution in his preface to the first edition of A Comparative Grammar of the Dravidian or South Indian Family of Languages: > The first to break ground in the field was Mr. Ellis, a Madras civilian, > whose was profoundly versed in the Tamil language and literature, and who > interesting but very brief comparison, not of the grammatical forms, but > only of some of the vocables of three Dravidian dialects, is contained in > his introduction to Campbell's Telugu Grammar.

Before the final section there is a harmonized vocal section which features vocables- rhythmically precise vocal stabs and no actual words, sung with nonsense syllables. The coda section is similar to the introduction, returning to the main instrumental theme with a guitar solo on top of it, which fades out to the end of the track. In live performances of the period, when it was regularly used as the opening number, the final chord of the pre-recorded "walk-on" music (the closing passage of Stravinsky's The Firebird) was cross-faded into a bridging minor-key Mellotron passage, followed by the opening guitar riff, and was usually concluded with a reprise of opening riff.

The songs on xx are composed around a framework of basslines and beats, while incorporating simple guitar riffs for melody, rhythm and texture; their melodic notes are separated by rests. Croft said the band's style of instrumentation became defined by the limited equipment they originally used: "My guitar sound pretty much came from discovering there was reverb on my little practice amp and really loving the mood it created." The loudest song, "Intro", is a largely instrumental recording with double-tracked beats, distorted keyboard, non-lexical vocables and a guitar riff. Songs such as "Crystalised" and "VCR" begin with a melodic ostinato and some understated sounds, including a xylophone on the latter, before leading to quietly sung verses.

The song fades in with the sounds of running water, wind chimes, and birds chirping; a layering of sounds derived primarily from "environmental tapes" collected by lead vocalist Jon Anderson. These nature sounds move through a crescendo and into a somewhat menacing guitar melody, which is composed of a cacophonous musical passage that features a two-note guitar line which rapidly passes down and then up four octaves, in 12/8 time. The bass ascends through a line based on the notes of the second mode of the D harmonic minor scale (also called Locrian natural 6), adding an exotic flavor to the already cacophonic texture. The guitar melody is punctuated by a series of sudden band-harmonized vocables.

It has also been suggested that the phrase is a series of vocables imitating the sound of a march played on drums and bagpipes.SND:Teribus Alistair Moffat suggests in Arthur and the Lost Kingdoms (1999) that the phrase was originally the Welsh "Tir y Bas y Tir y Odin," meaning "The Land of Death, the Land of Odin", although Odin wasn't noted for his popularity amongst the Welsh. However, he also postulates that the phrase could mean "Land of Death, Land of the Gododdin" (The initial G is often elided), the Gododdin being the local Britonnic tribe of the area. References to the "war cry" teribus an teriodin do not appear much before the early 19th century.

This was particularly illustrated in the song "Choosing Sides", which began with slow, low-pitched keyboard sounds, which NOW music editor Carla Gillis described as "psychedelic", and M.T. Richards of East Bay Express called "space rock synths". However, the drums quickly built to a fast-paced tempo, and the song settled into a time signature, with funk elements, bass-driven grooves, and non-lexical vocables. This quickly changed as well, with the song switching back to a time signature, and concluding in an electro-funk style. While many songs on Plumb had multiple sections or shifting musical styles, some were simpler variations over a repeating motif, like in "A New Town", which was built over a minimalist, groovy bassline, and a repetitious guitar riff.

An example of an intertribal song is the AIM Song, which uses vocables to make it accessible to people of all tribes. However, because of its origins from the Lakota and Ojibwe people, it still retains some Northern Plains and Great Lakes characteristics. John Trudell (Santee Dakota) launched a new genre of spoken word poetry in the 1980s, beginning with Aka Graffiti Man (1986). The next decade saw further innovations in Native American popular music, including Robbie Robertson (of The Band) releasing a soundtrack for a documentary, Music for the Native Americans, that saw limited mainstream success, as well as Verdell Primeaux and Johnny Mike's modernized peyote songs, which they began experimenting with on Sacred Path: Healing Songs of the Native American Church.

There are many versions of the lyrics'Griogal Cridhe': Aspects of transmission in the Lament for Griogair Ruadh Mac Griogair of Glen Strae (the untranslated words are vocables): :'S iomadh h-oidhche fhliuch is thioram :Sìde na seachd sian :Gheibheadh Griogal dhomhsa creagan :Ris an gabhainn dian :Chorus: :Obhan obhan obhan iri :Obhan iri, o! :Obhan obhan obhan iri :'S mór mo mhulad, 's mór :Dhìrich mi dh ´an t-seòmar mhullaich, :´S theirinn mi ´n tigh-làir, :´S cha d ´fhuair mise Griogal cridhe :´Na shuidhe mu ´n chlàr. :Eudail mhóir a shluaigh an Domhain, :Dhòirt iad d´ fhuil o ´n-dé, :´S chuir iad do cheann air stob daraich :Tacan beag bho d´ chré. :’S ged tha mi gun ubhlan agam, :’S ubhlan uil’ aig càch; :’S ann tha m’ ubhal cùbhraidh grinn, :'S cùl a chinn ri lar.

Singing consists mostly of vocables, though recordings and reports from the early 1900s and prior indicate there were a great deal more lyrics or vocal texts. Blackfoot people see the profusion of words in European American music and African American music as lessening the importance and meaning of both words and music; and the same for the manner of listening to such music, that is, for entertainment or enjoyment, often while doing other things: if someone needed to say so many words, why didn't they just talk (p. 69). Blackfoot music is not based on instruments or texts, and singing is not supposed to sound like talking (or imitate any other sound). Typically, songs which contain texts are short and not repetitive, such as: "It's a bad thing to be an old man", (Nettl, 1989, p.

In the vocables of Saxony and Hessia, there are some villages of the > name Askenaz, and from him the Jews call the Germans Askenaz, but in the > Saxonic and Italian, they are called Tuiscones, from Tuisco his other name. > In the 25th year of his reign, he partitioned the kingdom into Toparchies, > Tetrarchies, and Governments, and brought colonies from diverse parts to > increase it. He built the city Duisburg, made a body of laws in verse, and > invented letters, which Kadmos later imitated, for the Greek and High Dutch > are alike in many words. The 20 captains or dukes that came with Askenaz > are: Sarmata, from whom Sarmatia; Dacus or Danus – Dania or Denmark; Geta > from whom the Getae; Gotha from whom the Goths; Tibiscus, people on the > river Tibiscus; Mocia - Mysia; Phrygus or Brigus - Phrygia; Thynus - > Bithynia; Dalmata - Dalmatia; Jader – Jadera Colonia; Albanus from whom > Albania; Zavus – the river Save; Pannus – Pannonia; Salon - the town Sale, > Azalus – the Azali; Hister – Istria; Adulas, Dietas, Ibalus – people that of > old dwelt between the rivers Oenus and Rhenus; Epirus, from whom Epirus.