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1 popular songs festival
festifal lagu-lagu pop -
2 singer of popular songs
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3 sacred songs
sacred (national, traditional, patriotic, doleful, rustic, popular) songs духовные (национальные, традиционные, патриотические, жалобные, деревенские, популярные) песни -
4 canción popular
f.folk song.* * *(n.) = popular songEx. Barnes uses a combination of spirituals, popular and protest songs that were adapted to introduce, review, or heighten students' interest in the 1950s and 1960s.* * *(n.) = popular songEx: Barnes uses a combination of spirituals, popular and protest songs that were adapted to introduce, review, or heighten students' interest in the 1950s and 1960s.
* * *folk song -
5 Gospel (Of, relating to, or being religious songs of American origin associated with evangelism and popular devotion and marked by simple melody and harmony and elements of folk songs and blues)
Религия: религиозное песнопение в стиле "госпел"Универсальный англо-русский словарь > Gospel (Of, relating to, or being religious songs of American origin associated with evangelism and popular devotion and marked by simple melody and harmony and elements of folk songs and blues)
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6 seguidilla
f.four line stanza, seven line stanza, seguidilla.* * *1 LITERATURA type of strophe2 MÚSICA seguidilla, type of Spanish dance and song* * *SF1) (Mús) seguidilla ( dance and piece of music in a fast triple rhythm)2) (Literat) seguidilla ( poem with four to seven lines used in popular songs)3)* * *1 ( Mús) seguidillauna seguidilla de contratiempos a string o series of setbacksme soltó una seguidilla de insultos she hurled a stream of insults at me* * *
seguidilla f Mús popular Spanish dance and music
* * *seguidilla nf1. Lit = poem containing four or seven verses used in popular songs2. [cante flamenco] = mournful flamenco song* * * -
7 lunfardo
m.thief.* * ** * *SM1) Arg local slang of Buenos Aires2) Cono Sur criminal slang, language of the underworld* * *masculino Buenos Aires slang* * *masculino Buenos Aires slang* * *Buenos Aires slang ( before n)lunfardo (↑ lunfardo a1)Buenos Aires slangA form of Buenos Aires slang that originated in the underworld. It draws on many languages, including Italian, Portuguese, Spanish, French, German, and several African languages. It has found its way into popular songs and theater. Lunfardo words in standard colloquial speech are: morfar (to eat), güita (money), and mina (woman).* * *
lunfardo sustantivo masculino
Buenos Aires slang
* * *lunfardo nm= working-class Buenos Aires slangLUNFARDOLunfardo was the lower-class slang of Buenos Aires in the early years of the 20th century. It was heavily influenced by the speech of the Italian immigrants who arrived in Argentina in huge numbers around the turn of the century. Its vocabulary was popularized through the words of tango music, and many terms have entered popular speech throughout the River Plate region. Despite its humble origins, lunfardo is now widely regarded as a fundamental part of the cultural heritage of Buenos Aires, and an academy dedicated to its study was founded in 1962. Nowadays it survives more in the words of classic tango songs than in daily use. Nevertheless, one of the typical features of lunfardo persists in popular speech – the inversion of the syllables in a standard Spanish word. Thus one can hear “lorca” used instead of “calor” or “ofri” instead of “frío”, and this can be applied to almost any word.* * * -
8 tonadillero
► nombre masculino,nombre femenino1 (compositor) writer of ditties, writer of popular songs; (cantante) singer of ditties, singer of popular songs* * *tonadillero, -a nm,f= singer/writer of “tonadillas” -
9 chanson
chanson [∫ɑ̃sɔ̃]feminine noun━━━━━━━━━━━━━━━━━French chansons gained international renown in the forties thanks to stars like Edith Piaf and Charles Trénet, and in the fifties and sixties thanks to Yves Montand, Charles Aznavour and Juliette Gréco. La chanson française has always been characterized by the quality of its lyrics, exemplified by the work of singer-poets like Jacques Brel, Georges Brassens, Léo Ferré and Barbara.* * *ʃɑ̃sɔ̃1) ( texte chanté) song2) ( genre) songla chanson française/pour enfants — French/children's song
3) (colloq) ( propos)4) Littérature song, epic (poem)•Phrasal Verbs:* * *ʃɑ̃sɔ̃ nf* * *chanson nf2 ( genre) song; la chanson française/pour enfants French/children's song; faire carrière dans la chanson to make a career as a singer; vedette de la chanson singing star;3 ○( propos) c'est toujours la même chanson it's always the same old story ou song; c'est une autre chanson that's another story; je connais la chanson I've heard it all before;4 Littérat song, epic (poem); la Chanson de Roland the Chanson de Roland.chanson d'amour love song; chanson à boire drinking song; chanson de geste chanson de geste; chanson guerrière song of battle; chanson de marche marching song; chanson de marin(s) sea shanty; chanson populaire ( traditionnelle) traditional song; ( moderne) popular song; chanson à succès hit (song).tout finit par des chansons there's always a happy ending.[ʃɑ̃sɔ̃] nom fémininchanson d'amour/populaire love/popular songchanson enfantine children's song, nursery rhymeça va, on connaît la chanson enough of that, we've heard it all beforeça, c'est une autre chanson that's another story2. LITTÉRATUREchanson de geste chanson de geste, epic poemla Chanson de Roland ‘The Song of Roland’ -
10 volkszanger
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11 cantador
► nombre masculino,nombre femenino1 singer* * *cantador, -aSM / F folksinger, singer of popular songs* * *cantador, -ora nm,ftraditional folk singer -
12 chanteur
chanteur, -euse [∫ɑ̃tœʀ, øz]masculine noun, feminine noun* * *
1.
- euse ʃɑ̃tœʀ, øz adjectif
2.
* * *ʃɑ̃tœʀ, øz nm/f (-euse)* * *B ⇒ Les métiers et les professions nm,f singer; ( de groupe) vocalist; chanteur d'opéra/de blues opera/blues singer; chanteur (de) rock/folk rock/folk singer; chanteur de cabaret cabaret singer; chanteur de charme crooner; chanteur populaire singer of middle-of-the-road popular songs; chanteur des rues street singer., chanteuse [ʃɑ̃tɶr, øz] nom masculin, nom féminin————————( féminin chanteuse) [ʃɑ̃tɶr, øz] adjectif -
13 krummi
m. a pet name of a raven.* * *a, m. a pet name of a raven, perhaps Crook-beak, Edda (Gl.),Ósv. S. 3, 4, 6; freq. in popular songs,—Krummi krunkar úti, | kallar á nafna sinn; Krumminn á skjá, skjá, | skekr belgi þrjá, þrjá, etc.; betr skrifa krumma klær, Jón. Þorl. Krumma-kvæði, n. Raven song. -
14 hitlijst
n. hit parade, listing of of the most popular songs at a particular time -
15 hitparade
n. hit parade, listing of of the most popular songs at a particular time -
16 titi
n. m. Street urchin; cheeky, wily and resourceful young boy. (The titi parisien is often affectionately referred to in popular songs and was immortalized by the French painter Francisque Poulbot, 1879-1946, whose name also became eponymous with that Gavrochelike character.) -
17 belt out
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18 kütləvi
masskütləvi informasiya vasitələri – mass mediakütləvi hal almaq – obtain mass characterkütləvi mahnılar – popular songs -
19 Variété française
Songs written in French for a French-speaking audience are known as variété française. This popular and productive musical genre is encouraged by a law which stipulates that a prescribed amount of air time be allocated to it on the French national radio. It is also celebrated at the annual Francofolies music festival in July in La Rochelle -
20 DANZ
mod. dans, n. a word of for. origin; [cp. mid. Lat. dansare; Fr. danser; Ital. danzare; Engl. dance; Germ. tanz, tanzen.] This word is certainly not Teutonic, but of Roman or perhaps Breton origin: the Icel. or Scandin. have no genuine word for dancing,—leika means ‘to play’ in general: the word itself (danza, danz, etc.) never occurs in the old Sagas or poetry, though popular amusements of every kind are described there; but about the end of the 11th century, when the Sagas of the bishops (Bs.) begin, we find dance in full use, accompanied by songs which are described as loose and amorous: the classical passage is Jóns S. (A. D. 1106–1121), ch. 13. Bs. i. 165, 166, and cp. Júns S. by Gunnlaug, ch. 24. Bs. i. 237—Leikr sá var kær mönnum áðr en hinn heilagi Jón varð biskup, at kveða skyldi karlmaðr til konu í danz blautlig kvæði ok rægilig; ok kona til karlmanns mansöngs vísur; þenna leik lét hann af taka ok bannaði styrkliga; mansöngs kvæði vildi hann eigi heyra né kveða láta, en þó fékk hann því eigi af komið með öllu. Some have thought that this refers to mythical (Eddic) poetry, but without reason and against the literal sense of the passage; the heathen heroic poems were certainly never used to accompany a dance; their flow and metre are a sufficient proof of that. In the Sturl. (Hist. of the 12th and 13th century) dancing is mentioned over and over again; and danz is used of popular ballads or songs of a satirical character (as those in Percy’s ballads): flimt ( loose song) and danz are synonymous words; the Sturl. has by chance preserved two ditties (one of A. D. 1221, running thus—Loptr liggr í Eyjum, bítr lunda bein | Sæmundr er á heiðum, etr berin ein. Sturl. ii. 62, and one referring to the year 1264—Mínar eru sorgirnar þungar sem blý, Sturl. iii. 317) sufficient to shew the flow and metre, which are exactly the same as those of the mod. ballads, collected in the west of Icel. (Ögr) in the 17th century under the name of Fornkvæði, Old Songs, and now edited by Jon Sigurdsson and Svend Grundtvig. Danz and Fornkvæði are both of the same kind, and also identical with Engl. ballads, Dan. kæmpeviser. There are passages in Sturl. and B.S. referring to this subject — færðu Breiðbælingar Lopt í flimtun ok görðu um hann danza marga, ok margskonar spott annat, Sturl. ii. 57, cp. 62; Danza-Bergr, the nickname of a man (Stud, ii), prob. for composing comic songs; danza-görð, composing comic songs; fylgðar-menn Kolbeins fóru með danza-görð, … en er Brandr varð varr við flimtan þeirra, iii. 80; þá hrökti Þórðr hestinn undir sér, ok kvað danz þenna við raust, 317.β. a wake, Arna S. ch. 2; in Sturl. i. 23; at the banquet in Reykhólar, 1119, the guests amused themselves by dancing, wrestling, and story-telling; þá var sleginn danz í stofu, ii. 117; í Viðvík var gleði mikil ok gott at vera; þat var einn Drottins dag at þar var danz mikill; kom þar til fjöldi manna; ok ríðr hann í Viðvík til danz, ok var þar at leik; ok dáðu menn mjök danz hans, iii. 258, 259; honum var kostr á boðinn hvat til gamans skyldi hafa, sögur eða danz um kveldit, 281;—the last reference refers to the 21st of January, 1258, which fell on a Sunday (or wake-day): in ballads and tales of the Middle Ages the word is freq.:—note the allit. phrase, dansinn dunar, Ísl. Þóðs. ii. 8: the phrases, stiga danz; ganga í danz; brúðir í danz, dansinn heyra; dans vill hun heyra, Fkv. ii. 7. Many of the burdens to the mod. Icel. ballads are of great beauty, and no doubt many centuries older than the ballads to which they are affixed; they refer to lost love, melancholy, merriment, etc., e. g. Blítt lætur veröldin, fölnar fögr fold | langt er síðan mitt var yndið lagt í mold, i. 74; Út ert þú við æginn blá, eg er hér á Dröngum, | kalla eg löngum, kalla eg til þin löngum; Skín á skildi Sól og sumarið fríða, | dynur í velli er drengir í burtu riða, 110; Ungan leit eg hofmann í fögrum runni, | skal eg í hljóði dilla þeim mér unm; Austan blakar laufið á þann linda, 129; Fagrar heyrða eg raddirnar við Niflunga heim; Fagrt syngr svanrinn um sumarlanga tíð, | þá mun list að leika sér mín liljan fríð, ii. 52: Einum unna eg manninum, á meðan það var, | þó hlaut eg minn harm að bera í leyndum stað, 94; Svanrinn víða. svanurinn syngr viða, 22; Utan eptir firðinum, sigla fagrar fleyr | sá er enginn glaður eptir annan þreyr, 110; Svo er mér illt og angrsamt því veldur þú, | mig langar ekki í lundinn með þá jungfrú, Espol. Ann. 1549. The earliest ballads seem to have been devoted to these subjects only; of the two earliest specimens quoted in the Sturl. (above), one is satirical, the other melancholy; the historical ballads seem to be of later growth: the bishops discountenanced the wakes and dancing (Bs. l. c., Sturl. iii), but in vain: and no more telling proof can be given of the drooping spirits of Icel. in the last century, than that dancing and wakes ceased, after having been a popular amusement for seven hundred years. Eggert Olafsson in his poems still speaks of wakes, as an eyewitness; in the west of Icel. (Vestfirðir) they lasted longer, but even there they died out about the time that Percy’s ballads were published in England. The Fornkvæði or songs are the only Icel. poetry which often dispenses with the law of alliteration, which in other cases is the light and life of Icel. poetry; vide also hofmaðr, viki-vakar, etc. In the 15th century the rímur (metrical paraphrases of romances) were used as an accompaniment to the danz, höldar danza harla snart, ef heyrist vísan mín; hence originates the name man-söngr ( maid-song), minne-sang, which forms the introduction to every ríma or rhapsody; the metre and time of the rímur are exactly those of ballads and well suited for dancing. An Icel. MS. of the 17th century, containing about seventy Icel. Fornkvæði, is in the Brit. Mus. no. 11,177; and another MS., containing about twenty such songs, is in the Bodl. Libr. no. 130.
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