Literatura académica sobre el tema "Students' songs, British"

Academic writing requires both style and grammatical correctness; however, efforts in improving the quality of English academic writing by non-native students have been focused on grammar. Structures observed in this study were grammatically correct, but considered unnatural in academic writing genre. This research involves a group of non-native English speaking students who were assigned to submit two different kinds of writing to an online repository: a research paper abstract and a free writing article. A survey to understand the sources of English exposure is also conducted. The objectives of this study are to describe unnatural sequences/Multi Words Units (MWUs) used by the students and to identify the motives of using such sequences. The tools for corpus processing used are Unitex and Antconc. Corpus of Contemporary American English and British National Corpus are also used as reference corpora for English while the SEAlang Indonesian Corpus is used to validate the influence of first language (L1). The analysis of these sequences with comparison to reference corpora indicated the influence of spoken English and students’ L1 (Indonesian). This corresponds to the results of the survey that most of the students are exposed to English mostly via spoken, and non-academic sources (songs, movies, social media, etc).

This study investigates the use of any platforms in English language teaching and learning, especially in listening skills. This research design is qualitative. From the result, it shows that some technologies available both online or offline include applications or platforms that provide many choices for listening to English, they are. 1) Music platform. These platforms can be found in PlayStore, such as Joox and Spotify recommends songs for listening skills. 2) Youtube channel. Many YouTube channels for learning English listening skills include 1) Voice of America (VOA), BBC Learning English, Learn English with TV Series, English with Lucy, and Oxford Online English. 3) Podcasts. Both BBC (British Broadcasting Corporation) and VoA (Voice of America). These Podcasts offer listening skills. The other podcasts are “The English We Speak, Podcast in English, Better at English, Luke’s English Podcast, Espresso English Podcast, Anchor FM” etc. 4) Websites that are pretty representative in practicing the listening skills such as Sound English, ESL-Lab, English listening, Ello, learn English British Council, Daily ESL, Story Nory, Story Line, which can be accessed. Learning English through several applications above can be an alternative for students in practicing and improving their English listening skills. Listening exercises can be carried out by using interesting listening strategies when learning English. It depends on the teachers/lecturers who teach listening subjects and the students who learn English materials.

Purpose The purpose of this paper is to explore the concept of national identity, as imparted to students by the Western Australia Education Department, in the early part of the twentieth century. By specifically examining The School Paper, as a part of a broader investigation into the teaching of English, this paper interrogates the role “school papers” played in the formation of the citizen subject. Design/methodology/approach This paper draws on all available editions of Western Australia’s Education Department school reader, The School Paper, between 1909 and 1911, and on the Department’s Education Circular publication between the years 1899 and 1911. These are read within the context of the prevailing education philosophy, internationally and domestically, and the extent to which it was shaped by Australia’s cultural heritage and the desire to establish a national identity in the years post-federation. Findings The School Paper featured stories, poems, songs and articles that complimented the goals of the new education. Used in supplement to a revised curriculum weighted towards English classics, The School Paper, provided an important site for citizenship training. This publication pursued dual projects of constructing a specific Australian identity while defining a British imperial identity from which it is informed. Originality/value This research builds on scholarship on the role of school readers in other states in the construction of national identity and the formation of the citizen subject. It is the first research conducted into Western Australia’s school paper, the school reader, and provides a new lens through which to view how the processes of national/imperial identities are carried out and influenced by state-sanctioned study of English.

Student’s Perception is the process of students to interpret and organize an environment into meaningful information which cover student’s feeling of like or dislike towards something, it includes positive and negative opinion. Student’s Perception in this study focuses on the implementation of YouTube in Learning English song lyric. This study uses mixed method design. 72 students in class XI Science 3 and 7 in SMAN 1 Cerme become the subject of this study. The data was collected using Perception Questionnaire. After grained the data, the writer analyzed by using some formulas and SPSS 1.16. The writer also used interview to ensure the result of questionnaire.Based on the data analysis that was collected and analyzed from the students of XI-Science 3 and 7, 58,3 % of the students had positive perception towards the implementation of YouTube in Learning English song lyrics, from the interview and questionnaire result, this study is also gave many advantages from the student’s perception, the writer would like to answer the research questions as stated before. It consisted of a question involving to find out the research question “What is the students’ perception on the implementation of English song video in YouTube for learning song lyric at eleventh grade students in SMA Negeri 1 Cerme?”. The result is students had good perception, the students gave positive respond in every activity conducted in the classroom because the song make the class become more conducive, fun, and meaningful, so it influenced their ability in listening improved well. Not only that, they also mastered the component of language in English, such as grammar, vocabulary, and pronunciation. The result of questionnaire and interview, the percentage from students who disagree that learning English song lyric improved their understanding in identifying grammatical structure. Even though they have learnt grammar for many times, but they still have difficulties in learning grammatical structure. Not only that, students also have difficulties in differentiating the native speaker accent, such as American accent and British accent. Students also weak in imitating the sound of speech. It is because the native speaker speaks fast, so that they cannot get the word easily, they still repeat the English song again and again. Teacher also uses group discussion technique in learning English song lyric from YouTube, it made the students become more active in communicate and share ideas with their friends.

Regarding self–conscious emotions, studies have shown that different forms of perfectionism show different relationships with pride, shame, and embarrassment depending on success and failure. What is unknown is whether these relationships also show cultural variations. Therefore, we conducted a study investigating how self–oriented and socially prescribed perfectionism predicted pride and embarrassment after success and failure by comparing 363 British and 352 Japanese students. Students were asked to respond to a set of scenarios where they imagined achieving either perfect (success) or flawed (failure) results. In both British and Japanese students, self–oriented perfectionism positively predicted pride after success and embarrassment after failure, whereas socially prescribed perfectionism predicted embarrassment after success and failure. Moreover, in Japanese students, socially prescribed perfectionism positively predicted pride after success and self–oriented perfectionism negatively predicted pride after failure. The findings have implications for our understanding of perfectionism, indicating that the perfectionism–pride relationship not only varies between perfectionism dimensions but may also show cultural variations. Copyright © 2012 John Wiley & Sons, Ltd.

Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and their influence on its development has become of special relevance. The purpose of the article is to summarize segmental of information that highlights the contribution of women to the treasury of world art, their creative and inspiring power. Analytical, historical-biographical and comparative studying methods were applied to reveal the gender relationships in art and the role of woman in them as well as in the sociocultural space in general. The results from this study present a panorama of gifted women from the world of art and music who paved the way for future generations. Among them are: A. Gentileschi (1593–1653), who was the first woman admitted to The Florence Academy of Art; M. Vigee Le Brun (1755–1842), who painted portraits of the French aristocracy and later became a confidant of Marie-Antoinette; B. Morisot (1841–1895), who was accepted by the impressionists in their circle and repeatedly exhibited her works in the Paris Salon; F. Caccini (1587–1640), who went down in history as an Italian composer, teacher, harpsichordist, author of ballets and music for court theater performances; J. Kinkel (1810–1858) – the first female choral director in Germany, who published books about musical education, composed songs on poems of famous poets, as well as on her own texts; F. Mendelssohn (1805–1847) – German singer, pianist and composer, author of cantatas, vocal miniatures of organ preludes, piano pieces; R. Clark (1886–1979) – British viola player and composer who created trio, quartets, compositions for solo instruments, songs on poems of English poets; L. Boulanger (1893–1918) became the first woman to receive Grand Prix de Rome; R. Tsekhlin (1926–2007) – German harpsichordist, composer and teacher who successfully combined the composition of symphonies, concerts, choral and vocal opuses, operas, ballets, music for theatrical productions and cinema with active performing and teaching activities, and many others. The article emphasise the contribution of women-composers, writers, poetesses to the treasury of world literature and art. Among the composers in this row is S. Gubaidulina (1931), who has about 30 prizes and awards. She wrote music for 17 films and her works are being performed by famous musicians around the world. The glory of Ukrainian music is L. Dychko (1939) – the author of operas, oratorios, cantatas, symphonies, choral concertos, ballets, piano works, romances, film music. The broad famous are the French writers: S.-G. Colette (1873–1954), to which the films were devoted, the performances based on her novels are going all over the world, her lyrics are being studied in the literature departments. She was the President of the Goncourt Academy, Chevalier of the Legion of Honour, a square in the center of Paris is named after her. Also, creativity by her compatriot, L. de Vilmorin (1902–1969), on whose poems С. Arrieu, G. Auric, F. Poulenc wrote vocal miniatures, is beloved and recognized as in France as and widely abroad. The article denotes a circle of women who combined the position of a selfsufficient creator and a muse for their companion. M. Verevkina (1860–1938) – a Russian artist, a representative of expressionism in painting, not only helped shape the aesthetic views of her husband A. Yavlensky, contributing to his art education, but for a long time “left the stage” for to not compete with him and help him develop his talent fully. Furthermore, she managed to anticipate many of the discoveries as for the use of light that are associated with the names of H. Matisse, A. Derain and other French fauvist. F. Kahlo (1907–1954), a Mexican artist, was a strict critic and supporter for her husband D. Rivera, led his business, was frequently depicted in his frescoes. C. Schumann (1819–1896) was a committed promoter of R. Schumann’s creativity. She performed his music even when he was not yet recognized by public. She included his compositions in the repertoire of her students after the composer lost his ability to play due to the illness of the hands. She herself performed his works, making R. Schumann famous across Europe. In addition, Clara took care of the welfare of the family – the main source of finance was income from her concerts. The article indicates the growing interest of the twentieth century composers to the poems of female poets. Among them M. Debord-Valmore (1786–1859) – a French poetess, about whom S. Zweig, P. Verlaine and L. Aragon wrote their essays, and her poems were set to music by C. Franck, G. Bizet and R. Ahn; R. Auslender (1901–1988) is a German poetess, a native of Ukraine (Chernovtsy city), author of more than 20 collections, her lyrics were used by an American woman-composer E. Alexander to write “Three Songs” and by German composer G. Grosse-Schware who wrote four pieces for the choir; I. Bachmann (1926–1973) – the winner of three major Austrian awards, author of the libretto for the ballet “Idiot” and opera “The Prince of Hombur”. The composer H. W. Henze, in turn, created music for the play “Cicadas” by I. Bachmann. On this basis, we conclude that women not only successfully engaged in painting, wrote poems and novels, composed music, opened «locked doors», destroyed established stereotypes but were a powerful source of inspiration. Combining the roles of the creator and muse, they helped men reach the greatest heights. Toward the twentieth century, the role of the fair sex representatives in the world of art increased and strengthened significantly, which led Western European culture to a new round of its evolution.

This report reflects on a follow-on initiative from the AHRC-funded project “Fifty Years of British Music Video” designed to explore a collaboration between Cuba’s dance, film, and music cultures to create non-performance-based dance videos. Facilitated by service company Island Pictures, we worked with a young director, Giselle Garcia Castro, dancers at Danza Contemporánea de Cuba, and leading Cuban rap artist Telmary. The result was a single-shot video for Telmary’s “Soy el Verso” (2018), filmed in the dance studio, based on an improvisation guided by Giselle, and inspired by the José Martí poem in the song. The video fulfilled PI Caston’s ambition to break down the barrier between “dance film” and “music video” by building the choreography from the lyrics and making it the centre of the exercise. It endorsed Caston’s conceptual aim to encourage practitioners to identify and articulate their own narrative and iconography. The team also produced a fifteen-minute documentary of the process including interviews with filmmakers, teachers and students. The project demonstrated that academic collaboration with artistic communities can stimulate new creative practices and economic development. It also showed how creative industries researchers can use networks established by institutions such as the British Council and British Embassies to exchange media practice.

British university students (N = 247) completed the NEO‐PI‐R (Costa & McCrae, 1992) personality inventory at the beginning of their course and took several written examinations throughout their three‐year degree. Personality super‐traits (especially Conscientiousness positively, and Extraversion and Neuroticism negatively) were significantly correlated with examination grades and were found to account for around 15% of the variance. Primary traits were also examined and results showed significant correlations between a small number of these traits (notably dutifulness and achievement striving positively, and anxiety and activity negatively) and academic achievement. Furthermore, selected primary personality traits (i.e. achievement striving, self‐discipline, and activity) were found to explain almost 30% of the variance in academic examination performance. It is argued that personality inventory results may represent an important contribution to the prediction of academic success and failure in university (particularly in highly selective and competitive settings). Copyright © 2002 John Wiley & Sons, Ltd.

For many public institutions, ‘doing diversity’ exists as a performative act; a dance choreographed through acts of policy espousing a laudable song based on equality. The reality is somewhat different when it comes to implementation, as lofty ambitions give way to impermanent initiatives that are both strategically and tonally off-key. Today, many universities across the UK express their egalitarian aims based on progressive and sometimes decolonising theories of change, but all fail to deliver the pragmatic praxis demanded by their staff, students and collaborative research partners. This should not be so, especially for British anthropology departments which have sufficient authority to implement the structural changes required to make themselves representative of the worlds they study. Looking at this matter from the perspective of ‘race’, this paper calls for a pedagogical rebalancing of our discipline. It suggests a revaluation of the utility of meritocratic systems of evaluation and the employment of permanent ‘native’ staff in strategic roles to displace structural enclaves of hegemonic ‘whiteness’ could be enough to transform anthropology departments from doing diversity - into being it.

Serious students of popular music and song are rightly curious about the workings of the music business; but when we try to find out about how the industry works, even in terms of economics, we find that virtually all the empirical data comes from internal sources, from the International Federation of Phonographic Industries (IFPI), or from affiliates such as the British Phonographic Industries (BPI) and the Recording Industry Association of America (RIAA). In other words, we get only those statistics and ‘facts’ which this most secretive of industries wishes us to have; so we will look in vain for detailed production figures, or for sales of individual recordings (unless they are outstandingly successful), or for hard numbers relating to what IFPI calls ‘piracy’ (let alone the information on which the published numbers and projections are based). Similarly, from the individual company accounts of Sony, EMI or BMG, we may find numbers relating to pension and investment funds, but we will never find the real profits or losses of any company, let alone the rate of exploitation of any artist (or manufacturing or distributive worker); and in any case it is well-known that the published ‘bottom-line’ on a balance sheet is, at best, an informed opinion.

Lefteris Venizelos's late adolescence is marked by a row between Venizelos and his controlling father, in which the boy develops his social personality by trying to assert his independence. His final year of schooling was passed on Syros, the headmaster Psilakis commending his work and recommending, along with the Greek consul general in Chania, that rather than work in his father's shop he should go to Athens university. Kyriakos Venizelos is persuaded. In between spells at school and university Lefteris works in the glass shop, without enthusiasm. The university, a hub for students from all over the Greek world, furthers his political education, as does an encounter of British politician Joseph Chamberlain with Cretan students. Kostis Mitsotakis, a liberal Cretan lawyer and politician, marries Venizelos's sister Katigo. The death of Kyriakos Venizelos in 1883 precipitates change. Venizelos completes his law studies, sells the glass business, and inherits the spacious house in Halepa that his father had built.

Cultural visibility was one of its most effective mechanisms of protest in the late 1960s via posters, slogans, songs and images that gave collective purpose to ideas and campaigns. This chapter looks at performance of protest, looking specifically at the way that protest was “staged” as musical and theatrical spectacle in 1968. It focuses on three case studies: the musical spectacle of the Los Angeles rock group The Doors and the folk singer Phil Ochs who performed at the Chicago Democratic National Convention in August 1968; the theatrical experimentation of The Living Theatre’s radical play Paradise Now which was honed in Paris and performed first in New Haven, Connecticut in September 1968; and the British filmmaker Peter Whitehead’s ambivalent take on New York City in his 1969 film The Fall, the third part of which focuses on the student sit-in at Columbia University in April 1968.

This chapter discusses the emergence of the through-song British musical, also known as “pop opera.” This can be dated from the afternoon of March 1, 1968, when parents (mainly mothers) of students at Colet Court School watched an end-of-term performance of a twenty-minute version of Andrew Lloyd Webber and Tim Rice's Joseph and the Amazing Technicolor Dreamcoat. By 1991, Lloyd Webber and Rice had officially created the first performance in the history of pop opera which was Jesus Christ Superstar (1971). Lloyd Webber's ability to compose consistently in a single voice, or to eclecticize, in other words, to teach the audience to navigate the action through musical signifiers is not appreciated enough. Tim Rice's ease in “conversationalizing” the bigger-than-life figures that pop opera delights in is similarly underrated, because he makes it look easy. The biggest hit in this period of musical history is Les Misérables (1985). This show's saga started when Alain Boublil sees Superstar and decides to write something comparable. It was written with composer Claude-Michel Schönberg.