It didn't really matter whether I liked "Can't Fight This Feeling" or not; I listened to it over and over and over, much as people do now with their very favorite songs. Top 40 was relentless (and, you'll notice, rather white), so if that was the direction you went, as it was for me, you heard what you heard and you didn't customize the experience. And, for the record, radio was more genuinely local; this was before the entire structure changed in the 1990s.

I wonder sometimes what the current version of this kind of nostalgia is. Obviously, people who are now the age that I was then will have these pangs about something, but it can be hard to know what. It's not as if it's always Top 40 songs for me. The other week, I was singing to myself a jingle from the Van Scoy jewelry stores. It dates back to at least the early '80s, and it starts, "I'm a lucky girl, hooray, oh boy!" Because, of course, she has a diamond from Van Scoy. I always found this music extremely annoying, but now, if you sing it, I will fully belt along. (And I am not alone. I had no idea, but this delighted me.)

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Perhaps that's the appeal of 80s Chillpill. Perhaps because I was rarely hearing these songs by choice, they are stapled indifferently to the widest variety of memories: being sad, happy, bored, frantic, lonely, with friends, in the car, in my room, studying, reading, hanging out. Doing things that were meaningless, but doing them in good company.

You can only see straight ahead, but you can hear in all directions at once. Learning bird songs is a great way to identify birds hidden by dense foliage, faraway birds, birds at night, and birds that look identical to each other. In fact, when biologists count birds in the field, the great majority of species are heard rather than seen.

Break the song apart into its different qualities, including rhythm, pitch, tone, and repetition. As you listen to the birds around you and study the recordings, try placing the songs in different categories as shown below.

The Song of Songs is considered one of the five megillot (scrolls), which are read on major festivals. It is traditionally chanted in the synagogue during Passover, due to its thematic connection with springtime. Following the mystical tradition, some Sephardic and Hasidic Jews have a custom to recite it each week on Shabbat evening, as Shabbat serves as a renewal of loving vows between God and the Jewish People. While the tradition ascribes the its authorship to King Solomon (Song of Songs Rabbah 1:1), who lived in the 10th century BCE, modern scholars note the many literary parallels with other love poetry and wedding songs from both Babylonia and Egypt and suggest a later date of composition, perhaps around the fourth through sixth centuries BCE.

Do you like listening to songs in English? Singing songs is a great way to get better at speaking English and we have lots of great songs for you to enjoy. Listen to songs, print activities and post comments!

When you first open GarageBand, a new, empty song is created automatically. You can create new songs to record and arrange your music in. In the My Songs browser you can duplicate, name, save, and delete songs. You can also create folders, and add or remove songs from folders.

Once all of the priors are trained, we can generate codes from the top level, upsample them using the upsamplers, and decode them back to the raw audio space using the VQ-VAE decoder to sample novel songs.

To train this model, we crawled the web to curate a new dataset of 1.2 million songs (600,000 of which are in English), paired with the corresponding lyrics and metadata from LyricWiki. The metadata includes artist, album genre, and year of the songs, along with common moods or playlist keywords associated with each song. We train on 32-bit, 44.1 kHz raw audio, and perform data augmentation by randomly downmixing the right and left channels to produce mono audio.

For example, while the generated songs show local musical coherence, follow traditional chord patterns, and can even feature impressive solos, we do not hear familiar larger musical structures such as choruses that repeat. Our downsampling and upsampling process introduces discernable noise. Improving the VQ-VAE so its codes capture more musical information would help reduce this. Our models are also slow to sample from, because of the autoregressive nature of sampling. It takes approximately 9 hours to fully render one minute of audio through our models, and thus they cannot yet be used in interactive applications. Using techniques[^reference-27][^reference-34] that distill the model into a parallel sampler can significantly speed up the sampling speed. Finally, we currently train on English lyrics and mostly Western music, but in the future we hope to include songs from other languages and parts of the world.

We collect a larger and more diverse dataset of songs, with labels for genres and artists. Model picks up artist and genre styles more consistently with diversity, and at convergence can also produce full-length songs with long-range coherence.

We scale our VQ-VAE from 22 to 44kHz to achieve higher quality audio. We also scale top-level prior from 1B to 5B to capture the increased information. We see better musical quality, clear singing, and long-range coherence. We also make novel completions of real songs.

In traditional cultures around the world, work is often accompanied by song. Americans have developed work songs for many occupations, from agricultural jobs like picking cotton, to industrial ones, like driving railroad spikes. Iconic American figures such as cowboys had their work songs, as did sailors, whose songs kept work going smoothly on tall ships throughout the age of sail.

Work songs are typically sung for two reasons: to coordinate the labor of a group of people working together, which improves the efficiency of the work, and to relieve the boredom of a tedious job, which improves the lives of the workers.

A good example of the kind of song needed to coordinate labor is the railroad work song. When hammering in spikes to hold down the rails and ties, workers swing ten-pound hammers in a full circle, hitting the spike squarely, one after the other, without faltering or missing. The most efficient way to do this is to get the workers into a rhythm, which is traditionally provided by chants or songs, such as "Steel Driving Song," collected from Henry Truvillion by John and Ruby Lomax in Louisiana in 1939. In the same way, realigning whole sections of railroad that have been shifted by trains - rails, ties, and all - requires a crew to tap on the rails with hammers or pull on them with crowbars. If one man taps the rail alone, or five men tap it at different times, it won't move at all, but if five men tap it at exactly the same time, they can move it. Songs like "Track Callin'" provide the rhythm to get them all tapping or pulling at the same time.

Most field recordings of work songs were not made while the singers were actually working. The remoteness of the typical work locations was inconvenient to the collectors, while the presence of the recording equipment was inconvenient to the workers. In the prison environment, however, the presence of the collector was an interesting novelty to the prisoners, who in any case had no choice but to obey their wardens, and work tasks, such as chopping down trees or hoeing fields, could be undertaken for the purpose of getting a recording. Field recordings made under such conditions, which include "Early in the Mornin'" and "Makes a Long Time Man Feel Bad," are useful for getting a sense of how the work went together with the song.

American sailors had a very developed work-song tradition, and Library of Congress folklorists collected these songs from retired sailors in the 1930s and 1940s. Seagoing work songs, known as chanteys or shanties, had different structures depending on the task they accompanied. Typically, a lead singer, or shantyman, would sing the bulk of the song, and the men who were working just sang refrains and choruses. Short-drag, or short-haul shanties, such as "Haul Away," had just short refrains suitable for a few pulls on a rope. Stamp-and-go or walkaway shanties, such as "Drunken Sailor," for jobs that required walking a few steps to take in a rope's slack, had slightly longer refrains. Halyard shanties, such as "Hangin' Johnny," which were used for moving the wooden yards that held the sails up and down, had still longer ones. Finally, capstan shanties and pumping shanties, for long, sustained labor, had a slower pace and full choruses, such as "Away, Rio." It's interesting that sailors were allowed to complain about working conditions only through the medium of their shanties - the songs were so important to keeping things moving that the officers tolerated a little grumbling in the lyrics.

In addition to work songs, which are sung during work, folklorists recognize a related category generally called "occupational songs." Most work cultures that had work songs had occupational songs too, but occupational songs predominate in occupational communities in which work is done by individuals rather than coordinated teams, such as coal miners and loggers or lumberjacks. Occupational songs frequently tell stories about workers on the job, warn against the dangers of the occupation, or teach about the tools and techniques required to be a successful worker. Examples include "The Miner's Doom," recorded from Dan Walsh by George Korson in Pennsylvania in 1947, and "The Lumberjack's Alphabet," collected from Gus Schaffer by Alan Lomax in Michigan in 1938.

Because women's work was not always recognized as labor by male collectors, most work songs have been collected from men. However, women created work songs as well. In California folklorist Sidney Robertson Cowell found waulking songs, used by Gaelic-speaking women in Scotland for fulling woven cloth; an example is "Fhillie duhinn s'tu ga m'dhi (My brown-haired lover, I'm without you)," Most folklorists now recognize lullabies as work songs too; after all, putting children to bed is a traditional parental job in all societies. Like other work songs, lullabies contain an element of protest, in which mothers express consternation with their lives and even hostility toward their babies: why else sing about putting your baby in a tree-top, so that "when the bough breaks, the cradle will fall?" Of course, this hostility is not serious, but it allows parents to vent just a little bit about the frustration that sometimes comes with the joy of parenting. Library of Congress fieldworkers have recorded lullabies in several languages across the United States, including the English-language "Come Up Horsey, Hey, Hey," the Icelandic-language "Budar ei lofti," and the Arabic-language "Ughniyah li al-Atfal." 0852c4b9a8

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