Diego

Diego is a Spanish masculine given name. It derives from a re-analysis of Sant Yago ("Saint Jacob"), viz. in reference to Saint James the Greater, re-analysed as San Diego.

In today's Spanish-speaking countries, Diego and Santiago are common as given names; Diego, Santiago and Sandiego are found as surnames. The forms Tiago, Thiago, Diago and Diogo are seen mostly in Portuguese speaking (Lusophone) countries.

History

The name is on record since the High Middle Ages (Diego de Acebo, d. 1207).

During the medieval era, the names "Sant Yago", "Diago" and "Diego" seem to have coexisted. "Sant Yago" is used, for example, in a letter by James II of Aragon dated 1300: "[...] maestro de la cavalleria de Sant Yago et de la dita orden [...]".

"Diago" is recorded, for example, in "Et fue a casa del Rey. e mostrolo a don diago que era adelantado del Rey" (Fuero de Burgos, c. 1240)

In the Renaissance era, the name was Latinized as Didacus (from Greek διδαχή (didache) "teaching").

"Diego" as a generic name or term for a Spaniard is documented from around 1615, and "dago" is used as such still in the 19th century. By the early 20th century, the term "dago" became an ethnic slur chiefly for Italian Americans, besides also for anyone of Hispanic or Portuguese descent.

Lullaby

A lullaby or cradle-song, also spelled cradle song, is a soothing song or piece of music, usually played or sung to children or adults. The purposes of lullabies vary. In some societies they are used to pass down cultural knowledge or tradition. In addition, lullabies are often used for the developing of communication skills, indication of emotional intent, maintenance of infants' undivided attention, modulation of infants' arousal, and regulation of behavior. Perhaps one of the most important uses of lullabies is as a sleep aid for infants. As a result, the music is often simple and repetitive. Lullabies can be found in many countries, and have existed since ancient times.

Characteristics

Lullabies tend to share exaggerated melodic tendencies, including simple pitch contours, large pitch ranges, and generally higher pitch. These clarify and convey heightened emotions, usually of love or affection. When there is harmony, infants almost always prefer consonant intervals over dissonant intervals. Furthermore, if there is a sequence of dissonant intervals in a song, an infant will usually lose interest and it becomes very difficult to regain its attention. To reflect this, most lullabies contain primarily consonant intervals. Tonally, most lullabies are simple, often merely alternating tonic and dominant harmonies.