Sámiid ædnan
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Sámiid ædnan
"Sámiid ædnan" ( no, "Sameland", italic=no; en, "Sami Land"; describing the motherland of Sápmi) was the entry in the Eurovision Song Contest 1980, performed by Sverre Kjelsberg and Mattis Hætta. The song is sometimes mistaken for being in the Sami language. The words of the song were performed in Norwegian by Sverre Kjelsberg, while Mattis Hætta contributed with the yoik chorus – a Sami form of vocal music without words; the title of the song is however in the Northern Sami language, translating as "Sami Land" or "Sami Soil". There are no actual Sami words in the yoik chorus – instead, the syllables "lo" and "la" are simply repeated, giving rise to another popular title for the song, "Låla". Conception The song was inspired by the autonomy movement among the Sami people of northern Norway, with the duo singing that the demand for autonomy was made in a very subdued manner. Mention is also made of the traditional music of the region, the yoik, which is described as be ...
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Theater (song)
Germany was represented by Katja Ebstein, with the song "Theater", at the 1980 Eurovision Song Contest, which took place on 19 April in The Hague. "Theater" was the winner of the German national final, held on 20 March. This was Ebstein's third Eurovision appearance; she had previously represented Germany in 1970 and 1971, finishing third on both occasions. Before Eurovision Ein Lied für Den Haag The final was held at the Bayerischer Rundfunk TV studios in Munich, hosted by Carolin Reiber and Thomas Gottschalk. 12 songs took part and the winner was chosen by a panel of approximately 1,000 people who had been selected as providing a representative cross-section of the German public. At Eurovision On the night of the final Ebstein performed 12th in the running order, following Norway and preceding the United Kingdom. The performance was memorable, featuring four mime artists, and at the close of voting "Theater" had received 128 points, placing Germany second of the 19 entri ...
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Political Songs
Revolutionary songs are political songs that advocate or praise revolutions. They are used to boost morale, as well as for political propaganda or agitation. Amongst the most well-known revolutionary songs are "La Marseillaise" and "The Internationale". Many protest songs can be considered revolutionary - or later become canonized as revolutionary songs following a successful revolution. On the other hand, once a revolution is established, some of the aspects of protest song may be considered counter-revolutionary. Revolutionary songs are a notable part of propaganda. The singing of such songs is often considered as a demonstrative or revolutionary action. Such songs have been known to lend solidarity to disjointed political communities. Some revolutionary songs have appeared spontaneously; others have been written by notable authors, such as Bertolt Brecht. Revolutionary songs are frequently targeted at certain governments. By country Music was part of the cultural support of the ...
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Songs About Indigenous Peoples
A song is a musical composition intended to be performed by the human voice. This is often done at distinct and fixed pitches (melodies) using patterns of sound and silence. Songs contain various forms, such as those including the repetition and variation of sections. Written words created specifically for music, or for which music is specifically created, are called lyrics. If a pre-existing poem is set to composed music in classical music it is an art song. Songs that are sung on repeated pitches without distinct contours and patterns that rise and fall are called chants. Songs composed in a simple style that are learned informally "by ear" are often referred to as folk songs. Songs that are composed for professional singers who sell their recordings or live shows to the mass market are called popular songs. These songs, which have broad appeal, are often composed by professional songwriters, composers, and lyricists. Art songs are composed by trained classical composers fo ...
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