Analyzing the contemporary Palestinian revolutionary folk song “Fida'i” by the palestinian poet in the lense of literary criticism method: Sa’eed Al-Muzayyen as model by Rahmah Ahmad H. Osman, Nur Farhana Mohamad Zainol

“…Palestinian folk song is a medium used by Palestinians to express the reality happened in the land of Palestine, especially after the Zionist occupied their land and stole their belongings, houses, dreams and hopes, and since the occupation began, Palestinian folk song had become a form of resistance – even though is was not called as a revolutionary song –. Hence this research attempt to study one of the contemporary Palestinian revolutionary folk songs, which is "Fida’i" written by the Palestinian poet Sa’eed al-Muzayyen, by using the literary criticism approach which focus on the contextual approach, which are the historical, social and psychological approach. …”
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HAND OVER HEART: NATIONAL IDENTITY AND RITUAL IN THE ROMANIAN ANTHEM by Anca URSA

“…However, the former revolutionary song becomes an official national anthem in 1990, when the social projections and national values had long belonged to another paradigm, and it continues to dominate community rituals through unexpected structuring mechanisms. …”
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The non-aligned humanism of Rudolf Bruči: The composer and the society of self-management socialism by Sovtić Nemanja

“…In 1979 the oratorio We Are All a Single Party was performed, composed by the Yugoslav composer Rudolf Bruči, who in an interview for the Novi Sad daily newspaper Dnevnik explained his driving motives in the following way: “I wanted to preserve the spirit of our revolutionary songs and to speak in a modern, familiar way, understandable to everyone, about the decades in which our revolution was born and grew; about the legendary activities of pre-war communists, the difficult days of the War of National Liberation, the liberation and reconstruction of the country, about Tito and his invaluable contribution to the development of our selfmanagement socialism and non-aligned humanism” (Dnevnik, 10 April, 1979). …”
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Song complexity is maintained during inter-population cultural transmission of humpback whale songs by Jenny A Allen, Ellen C. Garland, Claire Garrigue, Rebecca A. Dunlop, Michael J. Noad

“…These occurred more often in progressively changing ‘evolutionary’ songs compared to rapidly changing ‘revolutionary’ songs. Our results suggest that populations do not need to reduce complexity to accurately learn song patterns. …”
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At the Crossroads of Traditions (Kuzebay Gerd and Russian Poetry) by Igor Yevgenjevich Vasiliev, Alevtina Vasilievna Kamitova

“…In his younger years, his romanticism was akin to that characteristic of the works of Gorky and Mirra Lokhvitskaya, and the early 1920s revolutionary songs and marches. Owing to his work on revolutionary texts, Gerd studied the basic professional skills, and developed his poetic language. …”
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Underground Press of Social Democratic Organizations in Šiauliai in 1904–1914 by Tomas Petreikis

“…This article deals with propaganda activities, such as publishing proclamations (20 publications), revolutionary songs (1), and underground periodicals (1), by local organizations of the Bund, LSDDP, LSDP and RSDDP in Šiauliai in 1904–1914. …”
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THE CREATIVE THINKING DEDUCTION OF TRADITIONAL CHINESE PIANO MUSIC ELEMENTS - TAKING CULTURAL WORKS FROM DIFFERENT PERIODS IN HISTORY AS THE MAIN LINE by Jing Li, Tsaiping Heng

“…Although the subject matter could only be pianistic adaptations of model operas, revolutionary songs, and traditional instrumental pieces, it prompted composers to dig deeper into the musical language and explore the perfect use of folk music patterns, traditional branching vocal weaves, and nationalized harmonies in the piano. …”
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