Germanic Mythology in Music: Cultural Memory and Conflict within the Framework of Modern Globalization

The multi-layered enactment of a national past in music has been strongly intertwined with the usage of mythological elements. Having often been compiled as a coherent narrative during the emergence of the European nation-states (like the Finnish Kalevala), the mythological material has often been perceived as a form of historical truth and national justification. This focal role is also apparent in various music genres ranging from folk revival to metal in post-1989 Europe. Within the globalized context, however, local-national interpretations can collide with earlier nationalist appropriations. This complex and sometimes politically conflicting situation becomes particularly evident with groups falling back on symbols and narrations that had previously been employed by Nazi-Germany. While Nazi-Germany had, among others, tried replace the Christmas tradition with elements and songs from Germanic (and other) mythological sources, modern Neo-Nazi music groups often employ central mythological names (like Odin or Tyr) and iconic elements (like Vikings and warriors) in song lyrics and CD cover designs. However, while many covers and lyrics are legally forbidden in Germany, Scandinavian and Baltic groups (like the Faroese Viking metal group Tyr and the Latvian pagan metal band Skyforger) employ similar elements of Norse mythology, which are often combined with traditional material. Discussing selected case studies, this paper highlights central discursive points of colliding historical-national associations and individual interpretations of the mythological elements in musical contexts. How far can the material be disassociated from the earlier historical political usage and instrumentalization? Is this necessary ? And how can the specific global-local conflict points be approached by a theoretical framework ?

Judaism in music : Jacques François Halévy ; a lecture

by J. L. Landau

The Use of Humor in Therapy : Research-Based Training Recommendations

Despite its essential and universal nature, humor has historically received limited attention from the behavioral sciences, particularly as compared to other affective experiences like anger and sadness. Some authors (e.g., Bell & Malhi, 2009; Provine, 2000a; Roeckelein, 2002) suggest that this is because researchers have traditionally failed to "take humor seriously" and, according to O'Connell (cited in Roeckelein, 2002), have too often pursued its study in a piecemeal manner lacking scientific rigor, resulting in "no comprehensive network of facts about the development and purposes of humor in human existence" (p. 1). Roeckelein (2002) found not a single mention of humor, laughter, wit, comedy, or theories relating to these topics in introductory psychology textbooks published between 1930 and 1996.While research interest in the area has grown, especially over the last decade, it remains an elusive and nebulous topic, more likely to be examined in specialty psychology texts (e.g., social psychology and child development) than general ones (Martin, 2007; Roeckelein, 2002). Organizations (e.g., The International Society for Humor Studies; The Association for the Advancement of Therapeutic Humor), journals (e.g., Humor: International Journal of Humor Research) and internet phenomena such as "The Humor Project" (www.humorproiect.com) have made great strides in integrating information about humor from discreet fields such as the arts and humanities, biological and social sciences, education, and business management. Still, the therapeutic potential of humor remains a relatively young subject of serious scientific inquiry (Marci, Moran, & Orr, 2004; Sala, Krupat, & Roter, 2002). While humor does make appearances in self-help books and publications addressing clinical applications, these sources are much ...

An approach to verbal humor in interaction

I propose a method to study interactional ironic humorous utterances in Spanish. In GRIALE research group consider this method can be applied to humorous ironic utterances in different textual genres, from the violation of conversational principles. Futhermore, we present the General Theory of Verbal Humor proposed by Attardo that it will be taken in our analysis. Therefore, I study irony and humor in examples of conversations from Peninsular Spanish real sample corpuses (COVJA, Corpus de conversaciones coloquiales [Corpus of Colloquial Conversations] and CREA, Corpus de Referencia del Español Actual [Reference Corpus of Present-Day Spanish]). In this article, I will focus on the application of this theory to humorous ironic statements which arise in conversation and examine the effects caused by them, which will additionally verify if irony and humor coexist in the same conversational exchange with a communicative aim and conversational strategies.

Intellectual element in music.

First published in Studies in Philosophy and Psychology, Boston 1906.

Haydn : a creative life in music /

Includes index.

New values in music appreciation /

Mode of access: Internet.

Frontier humor in verse, prose and picture.

Mode of access: Internet.

Prenticeana : or, Wit and humor in paragraphs /

Mode of access: Internet.

Bulletin - Council for Research in Music Education.

Title varies slightly.

The analysis of form in music,

Mode of access: Internet.

Musical gems. [music] : a graded course in music for rural and village schools /

Mode of access: Internet.

Public relations in music education, a study.

Mode of access: Internet.