Добірка наукової літератури з теми "Acting through song"

The art of pop singing includes not only vocal art but also a complex of expressive means, among which the performer’s acting skills play a prominent role; the extent to which additional expressive means are used depends on the performer’s individuality, the semantic, figurative, emotional and stylistic originality of the song. The purpose of the research is to describe the set of expressive means that a singer can use when creating an artistic image and performing a pop song on stage (vocal art, acting and the singer’s image (stage image), theatricalisation and scenography of a musical piece, the role of accompaniment). Research methodology. Musicological, stylistic, and contextual analysis is applied; a complex of expressive means of a stage performance of a pop song in modern socio-cultural conditions is considered, which is the basis for forming a musician (pop singer) – an artist of a new universal type. The scientific novelty of the study lies in the in-depth consideration of a complex of expressive means in the contemporary stage practices of pop singers, including the acting skills of pop performers, the theatricalisation of vocal pop works, etc., which makes it possible to determine the trend of development of contemporary pop song as a synthesis of acting and vocal art. Conclusions. When a song is sung in the name of a character, the main means of expression of the pop singer’s acting skill is transformation, the creation of the character of the character for whom the song is sung. The theatricalisation of a pop song requires the performer and the director to have a sense of proportion to understand that the meaning and image of the work are revealed primarily through singing; one of the most essential tasks of the director is to help the pop singer find an original and organic image. It is undeniable that the live accompaniment of a song provides an opportunity for a broader theatricalisation in the sense of communication between the singer and the concertmaster or orchestra. In the pyrotechnics of a pop singer’s performance, the leading positions belong to inner vision, imagination and penetration into the emotional and semantic construction of the material.

Teaching English for Young Learner has been broadly discussed in many academic writings. Young learner is closely regarded to have a massive memory which can be potentially filled by any information. This potential age makes linguist attract to know more about how a language can be absorbed by children. Many theories are then occurred which are mostly stated that even a foreign vocabulary is possible to be learnt by the children. However, different place may give a different result. By this point, here, the writer was interested in identifying further information how the vocabulary acquisition in young learners. The place taken in this study was one of kindergarten in Banda Aceh which had nine classes, and each class consisted of 20 children. The choice was referred to the some conditions which made the researcher interested, namely, most of the students were not from local area where most people spoke Acehness language; and most of the students had not ever been aboard nor stayed in a country where English was speoken. The result shows that most of teacher used song to introduce the foreign vocabulary to the children. The children would sing the song and dance together by acting out what the lyrics if the song stated. The atmosphere of the classroom was encouraging.

Acoustic signals produced by animals must transmit through the environment to reach potential receivers and change their behaviour. Both the environment (vegetation, air properties, other animals) and the form of the signal affect the propagation process. Here we investigated how the transmission of different song types of a duetting songbird species inhabiting an extreme environment within African montane forest, varies between males and females as well as different types of micro-habitats. We hypothesised that male and female songs would have different transmission properties, reflecting known differences in signal form and function. We analysed signal-to-noise ratio (SNR), excess attenuation (EA) and tail-to-signal ratio (TSR) of songs of male and female Yellow-breasted Boubous (Laniarius atroflavus) that were played and re-recorded in a range of sites representing the species-typical habitats. We found significant effects of distance, site (habitat) and sex reflected in all three measures of sound degradation. The clearest, primarily distance-dependent pattern was found for SNR of songs propagated in level forest site. EA was substantially higher in shrubs than in forest habitats, while TSR reflecting longer echoes appeared at longer distances in forest sites. Thus, Yellow-breasted Boubou songs are better propagated in forests than in disturbed sites covered with shrubs. We found that all male song types used for broadcast singing propagated farther than female songs, with significantly higher SNR at all distances. The different male song types which are known to have different functions, also demonstrated a differentiated pattern of propagation reflecting their functionality. All signals that were tested propagated the furthest in the ideal condition described as forest with a level terrain. Signals degraded much faster during transmission through shrubs regrowing after forest burning. On this site, the differences in the propagation of male and female songs, as well as the differences between male song types, were relatively least pronounced. Transmission in typical mountain forest among streams and with substantial terrain variation revealed that degradation pattern in such habitat could be perturbed in a non-linear way. Streams acting as a source of high noise level also negatively affected transmission and may strongly limit the perception of birds staying close to them. However, stream noise did not affect sex differences in song propagation as was found for the site located in shrubs. Male songs showed more efficient transmission through all habitats (least in the shrubs) than female song. These differences were the result of male songs having a whistle structure that is better adapted for long-range propagation than the atonal, wideband frequency female vocalisations. Results support the idea that signals of males of the Yellow-breasted Boubous evolved under the pressure of long-range communication both with rivals and females, while females of the species are much more focused on within-pair communication or signalling together with their partner. The consequence of deforestation resulting in pushing back territories to the forest remnants along streams may be a shortening of the song’s active range, in particular, in females.

The religious value of the local wisdom of the Madurese Macapat song is motivated by the variety of Madurese macapat songs that contain religious values which until now have been neglected by the Madurese ethnic in everyday life. This article examines the religious value of local Madurese wisdom in macapat songs. The method in this research uses a qualitative approach with a descriptive type. The techniques used in collecting data are through transcription, observation, documentation, and listening. Meanwhile, to analyze the data, researchers used identification, classification, and data description techniques. The results showed that the religious value of the local wisdom of the Madura macapat song contains the relationship between humans and God the creator of nature, namely Allah commands humans to carry out His good commands and stay away from His prohibitions. Meanwhile, the human-human relationship found symbolic meaning parèbhâsan with a reflection from Paul Recoer namely Kerras lamon ta’ akerrès which is intended for people who do not think before they act so that something happens less profitable for them. Madurese are advised to think before acting, so as not to be careless in doing something to others.

ABSTRAKTulisan ini merupakan analisis terhadap lirik lagu “Nasib Bunga” yakni salah satu lagu dangdut yang diciptakan Rhoma Irama dan dipopulerkan oleh Noer Halimah. Penelitian berjenis kualitatif ini dilakukan untuk mengetahui makna pesan verbal dalam lagu tersebut melalui analisis semiotika-Michael Riffaterre yang terdiri atas pembacaan heuristik dan hermeneutik. Melalui analisis yang berbasis pada data-data yang dikumpulkan dari hasil studi pustaka dan wawancara, dapat diketahui bahwa lagu “Nasib Bunga” mengandung makna mendalam yang secara garis besar berpesan untuk senantiasa berpikir sebelum bertindak agar tidak terjerumus kepada hal yang dapat merugikan dan disesali di kemudian hari. Selain itu, dapat diketahui pula bahwa makna lagu Nasib Bunga dibalut menggunakan redaksi kata dan simbol yang “tepat” sehingga lagu ini menjadi karya dakwah yang dapat diterima di masyarakat. Kata Kunci : Nasib Bunga; Makna; Lirik; Semiotika; Michael Riffaterre ABSTRACTThis paper is an analysis of the lyrics of the song "Nasib Bunga" which is one of the dangdut songs created by Rhoma Irama and popularized by Noer Halimah. This type of qualitative research was conducted to determine the meaning of the verbal message in the song through the semiotic analysis of Michael Riffaterre which consists of heuristic and hermeneutic readings. Through analysis based on data collected from the results of literature studies and interviews, it can be seen that the song "Nasib Bunga" contains a deep meaning which in general is a message to always think before acting so as not to fall into things that can be detrimental and regret later. day. In addition, it can also be seen that the meaning of the song Nasib Bunga is wrapped using the "right" wording and symbols so that this song becomes a propaganda work that can be accepted by the community. Keywords : Nasib Bunga; Meaning; Lyric; Semiotics; Michael Riffaterre

Statistics derived from the Essen Folksong Collection have widely been used as a proxy for general stylistic norms familiar to Western listeners. Since the specific facets of contemporary musical experience best modeled by a corpus of nineteenth-century European folksongs remain ambiguous, this study tests whether Essen-like music might be familiar to North American listeners through common children’s songs. Comparison with a corpus of 38 English-language children’s songs highly popular in North America finds that scale degrees from Essen and the children’s song corpus have near-perfect correlations in frequency profiles as well as high to very high correlations in tonal expectations and 4-grams. Profiles of scale degrees’ downbeat probabilities and average durations have moderate to high correlations for the diatonic but not the total chromatic. Overall, profiles of scale-degree behavior from the children’s song corpus match profiles from Essen more closely than do profiles from another corpus of music widely familiar to contemporary listeners (Billboard Hot 100 songs) and similarly closely as a corpus of nineteenth-century common-practice German vocal music (Schubert songs). For contemporary North American listeners, studies relying on Essen might plausibly be reinterpreted in terms of Essen acting as a corpus of early musical experience although the generalizability of Essen-derived statistics likely depends on the precise statistics being measured.

Abstract In Greek Archaic poetry song, dance, music and text interact through multisensorial emotions (empathy, pleasure) and synaesthesias (sound/sight/movement), represented and perceived in textual devices and real or imaginary performances. In a group of poems in the Newest Sappho (frs 15, 16, 16a, Kypris Song) eros prevails, connecting the audience/readers and ego, as feeling, thinking, and acting subjects. Frs 9, 17, 18, and the Brothers Song are more about public rituals, journeys, and family relations. Fr. 5 is composite: impulses of love share characteristics with addresses to deities or parents. These texts all have a unique sound-and-dance style, as confirmed by Sappho’s frs 1, 31, 44-44a, 58-59, 94, and this sensorial approach may support a transdisciplinary and sensitive conception of philology, by enhancing our appreciation of poetry as embodied experience: simultaneously emotional, aesthetic, cognitive, and intersubjective.

This article sets out to analyze the novel The Song of Ouyang Hai by Jin Jingmai (1965), and to do so within the paradigm of poststructuralist literary criticism. The deconstruction of the text helps us to discover its intertextuality and simulacra and to reveal the contradictions between the author’s ideas and the image of the protagonist as actually presented to the reader. Through reference to intertextuality, we see that Ouyang Hai is incapable of thinking and acting independently, he is guided by set phrases and behavior patterns that he has gleaned from Communist literature. Slogans that pervade his speech do not represent real actions, but only simulate them, thus creating a hyperreal environment filled with signs that do not have a prototype in real life, i.e., simulacra. Ouyang Hai’s maturation, as he acquires political and ideological consciousness is, in the author’s opinion, the process of his evolution. I argue that, on the contrary, this transformation leads to the destruction of the image, which is mostly constructed of propaganda slogans. The image constituting the mere sum of these artificial elements is no longer an integral whole, it breaks down into its elements – destructs, dismantles, defragments itself. Finally, Ouyang Hai is not a copy of a real human being, but – in J. Baudrillard’s words – “its own pure simulacrum.”

A song becomes a great English learning media in enhance students English skill, especially vocabulary achievement. This study was conducted to improve students’ vocabulary achievement through English kids’ song media in the first academic year. The subjects of this study consisted of 33 fifth-grade students. This study employed Classroom Action Research (CAR). The research design used in this study was a collaborative classroom action research, which means that the researcher collaborated with the real fifth-grade teacher as a collaborator and an observer. This study consisted of two cycles. Each cycle is consisted of two meetings that contained four phases; planning, acting, observing, and reflecting. The data for this study were acquired through observation, post-tests, and interviews. The result of the observations showed that all aspects of the observation checklist were fulfilled and completed well by the researcher in each meeting in the first and second cycles. The improvement could be seen in the increase of students’ mean scores from 64 in the preliminary study, 72 in the first cycle, to 79 in the second cycle. The result of the interview showed that all students gave positive responses to the implementation of English kids’ song media to improve students’ vocabulary achievement in teaching and learning process. Moreover, English kids’ song can be an alternative media in teaching and learning vocabulary.

Vocabulary is one of the important components of language that must be taught to the students of Elementary School. It is usually taught in relation to four other language skills (listening, speaking, reading, and writing). The vocabulary teaching using song is very effective because children like to sing a song. Based on the preliminary study, the students who passed the test were 57% and 43% were unsuccessful. It indicated that the student's achievement was low because they did not know the English name for anything about “Happy Birthday”. This problem makes the students lack motivation in learning English. Therefore, this study aimed to improve the students’ vocabulary skills using songs. The design of this research is a Classroom Action Research. There are two cycles in this research, namely Cycle I and Cycle II. Each cycle consists of four steps: planning, acting (implementing), observing, and reflection. This research took two cycles because it's impossible to improve students’ vocabulary mastery it only took one cycle and also useful to compare the result of the test. The criteria of success of this research if there were that 75% of students scored 60 or higher. The result of the study showed that the number of students in the passing grade (60) has increased. The students who got 60 and more were 57% in the preliminary study. After being taught by song, the students who got 60 and more increased to 71%, and in cycle II increased to 85%. The improvement could be gained when the student's performance during the learning-teaching process was satisfied. The classroom situation was enjoyable and the students were active during the learning-teaching process. The materials given were suitable for the lessons, attractive, or caught the students’ attention and contextual. Based on the research analysis as explained above, the researcher concludes that teaching vocabulary through song effectively improves the students’ vocabulary mastery.

Acting as song is a new philosophical approach to music theatre training enabling student actors to integrate singing and acting offering holistic, embodied acting-singing methods. Acting as song demands we abandon thinking that singing and acting are mutually exclusive, and that a character cannot be true-to-life because they are singing. Rather, singing is considered acting. Through practice based research, I show that acting as song results in more holistic, authentic, believable characterisation. It requires that acting and singing be integrated in multiple ways, that dramaturgical music analysis is made accessible to all students and embodied learning is used across educational contexts.

碩士
國立臺東大學
教育學系(所)
101
The research aimed to investigate the effect on the students’ English listening and English learning attitude through teaching English songs. This research started from February, 2013 and lasted for thirteen weeks. The subjects were eighteen eighth-grade students, who received English songs instruction. The students’ improvement on English listening and English learning attitude would be investigated through observation, recording, English listening pretest, English listening posttest and questionnaires. The conclusions and suggestions are as follows: 1. Instruction in English songs via teaching vocabulary, phrases and sentences systematically and continually has a positive effect on the students’ English listening, and it doesn’t interrupt the students’ normal English class. 2. Instruction in English songs teaches the students the techniques of English listening, which enable the students to learn by themselves. 3. Instruction in English songs practices with multiple assessments, which allow the students to participate and perform more, and this increase the students’ English learning attitude.

This research focuses on the exploration of integrating songs in the Task-based Language Teaching (TBLT) approach to enhance the learnability of Chinese. The aim of this study is to develop a series of effective curriculum resources, including songs and tasks and a novel framework combining songs and tasks in language teaching. This research is also designed as an action research to improve the teacher-researcher proficiency of the researcher with his teaching experience in Pianpi High School. In this study, different types of songs were experimented with and different tasks were utilized to allow the language to be used in life-like contexts. Finally, an adjusted framework of TBLT, including the Pre-task phase, Song phase, Core task phase and Post-task phase, is developed to combine songs and tasks, and to move the learning of songs to a higher plane of practice and application.

碩士
淡江大學
課程與教學研究所碩士班
99
The purpose of this study is to discuss the compatibility of applying Chinese popular songs to Chinese Rhetoric Teaching and to know junior high school students’ learning ability while studying Chinese rhetoric. There’s a strong relation between Chinese rhetorical skills and writing abilities, and reading is the foundation to cultivate students’ learning ability and competitiveness. In order to have students become fond of reading, cultivating students to know and to use the rhetorical concepts and skills is an excellent and basic way which the researcher can start teaching them to appreciate the beauty and fun through words. This study is started by studying Chinese pop songs, leading students to learn the skills of Chinese rhetoric. The researcher hopes to inspire students’ motivation, giving them another view in classes. This study contains the following purposes: 1. The curriculum design corresponds to the creative rhetorical courses of integrating junior high school rhetoric competence indicator at Mandarin to Chinese pop songs. 2. Studying the actual teaching processes in integrating Chinese pop songs to creative rhetorical courses in junior high schools. 3. Realizing the learning effectiveness in the junior high school students during the creative rhetorical courses. 4. Urging the researcher to introspect through studying the action research processes, thus improve teacher’s professional development. This study is mainly on the basis of action research, with several other methods such as observation, interviews and questionnaire surveys. After collecting all the information, the researcher will start analyzing and studying the data, including researcher’s introspective journals, assisting observers’ records and suggestions, video and audio files, students’ files, and the courses’ questionnaire. After the creative rhetorical teaching is set forth, the researcher will sort through and analyze the information. Here are the seven conclusions briefly. 1.Chinese popular songs give a brand new life to Chinese rhetorical teaching in junior high schools. Some creative teaching strategies can bring students to a whole unprecedented feeling during the classes. 2.There are five stages during the “carrying-out” processes of creative rhetorical teaching. They are: (a) setting the teaching objectives, (b) collecting teaching media, (c) starting to design the courses, (d) carrying out the teaching activities, and (e) teacher’s introspection and revision. 3.The analysis of Chinese popular songs shows that the most common rhetorical forms are metaphor, conversion, and repetition. 4.Creative rhetorical teaching has a positive effect on increasing junior high school students’ learning interests. It can inspire students’ learning motivations successfully, and the numbers of those students who are highly interested in Chinese rhetorical courses are big. And also, they are willing to keep having this kind of courses. 5.Changes of Chinese pop songs are rapid, and teachers should stride out to keep up with time. Teachers who use Chinese pop songs to teach have to update themselves very often in order to keep up. Also, they have to understand what students like and what their interests are so that teachers can inspire their motivation and learning purposes successfully. 6.Cooperative learning gives advantages to students to cultivate interpersonal relationship and interactions. A school is similar to a tiny society, and the method of cooperative learning should put into practice for a period of time so that students will realize the spirit of cooperative learning, establishing a good interpersonal relationship on their own. 7.A rookie teacher can be an expert! It takes tons of practices and hard work to become an experienced teacher while a good teacher isn’t born to be one.

Music in Disney’s Animated Features: Snow White and the Seven Dwarfs to The Jungle Book investigates how music functions in Disney Animated films. The book identifies several techniques used in a number of Disney animated movies. In addition it also presents a history of music in Disney animated films, as well as biographical information on several of the Studios’ seminal composers. The popularity and critical acclaim of Disney animated features is built as much on music as it is on animation. From Steamboat Willie through Bambi, music is the organizing element of Disney’s animation. Songs that establish character and aid in narrative form the backbone of the Studios’ animated features from Snow White and the Seven Dwarfs through The Jungle Book and beyond. In the course of their early animated features the Studios’ composers developed a number of techniques and models that have been used throughout their oeuvre. Instrumental instances of a given film’s songs are used to comment on various character’s thoughts, as well as on the plot and action. Songs featured in Disney films are often transitioned into or out of using rhymed, metered dialog, functioning in much the same way as recitative in opera. The book also explores the use of theme and variation technique, leitmotif, theatrical conventions, and song archetypes.

Recent investigations of Swedenborgians in London place them at the center of intricate and sometimes convoluted connections that tie Swedenborgians to what Al Gabay calls the “covert” Enlightenment—a complicated network of people of various walks of life who were also Swedenborgians, mesmerists, high-order illuminist freemasons, dabblers in alchemy, and spiritualists. With Manoah as an early New Church minister and active astrologer, and his brother Ebenezer an astrologer, alchemist, and freemason, they would seem to be a nexus for these related networks. Upon closer examination, this is unlikely for a variety of reasons. This chapter offers a revisionist look at Manoah’s centrality to the leadership and development of the New Church through its first fifty years, as well as suggesting that Manoah was largely responsible for New Church developments that famously alienated William Blake.

The fourth chapter is devoted to uncovering Mou’s idea of “authentic subjectivity.” According to Mou, this new paradigm of subjectivity was inaugurated by Confucius and Mengzi and reached its zenith in specific currents of Song-Ming Neo-Confucian thought. Through an original reformulation and systematization of this inheritance, Mou develops his “moral metaphysics,” in the framework of which his conception of subjectivity finds its definitive foundation. The “authentic subject” should not be confused with one of the poles of the dyad subject/object operating in Western, horizontal and knowledge-based mainstream philosophy. By contrast, it represents the culminating point of the vertical reorientation of the idea of the self. The previous chapters identify some distinguishing characteristics of the vertical self: dynamism, performativity, and self-transcendence. Moral metaphysics aims to bring any of these characteristics to full completion. Regarding dynamism, the moral self or authentic subject manifests itself as a process of uninterrupted liquefaction of any concretion and attachment. Mou distinguishes between a “little self” and a “great self.” The little self is the mind of habit, an inner domain constituted by psychological states, and it is constantly construed through a narrative interweaving of our memories. This inner domain is the province of qualia. In contemporary philosophy of mind, qualia are the subjective and qualitative aspects of our mental lives, the inner side of phenomenal experiences. They are echoes and traces passively produced by sensorial contact with the external world and are directly accessible only to privately experiencing subjects. In Critique of the Cognitive Mind, Mou called them “psychological states,” contrasting them with perception, that is, the ever-present ability of the mind to emancipate itself from any passive reverberation and affirm itself as pure dynamical act and ever-resurgent new beginning. Translated in a performative and practical dimension, Mou understands the little self or the unauthentic subject as a conglomerate of attachments and habits residually left behind in our attempt to dominate and control the objective world. The great self attainable in our moral deeds is a higher spiritual state that overcomes the distinction between the inner and outer worlds. The dynamism of self-transcendence actualized in my moral agency is a constant awakening from selfish slumber to the infinitude of my being one with all things. As Mengzi expresses it, “All things are already complete in us.” The unparalleled contribution of the Confucian tradition lies in the primacy of morals. It is critical to highlight that in Mou’s thought “morals” has a more comprehensive semantic spectrum than in Western philosophy because it is not a specific branch of knowledge dealing with ethical virtues and freedom of will, as epitomized in Kant’s Critique of Practical Reason. Morals and the moral self possess a performative and metaphysical dimension, including the ability to decipher the meaning embedded in reality, the action of conferring value to things, respecting them as end-in-itself, and avoiding the reduction of the world to a mere instrument, and finally the intuition of the universe as one with myself. The Western horizontal paradigm, in which ethical principles are deduced from the knowledge of being, is unable to explain phenomena such as moral failure and objectively justify the freedom of will. Therefore, Mou suggests that we begin our philosophical inquiry with the moral experience of value, rather than the relation between the mind and external objects. Confucian tradition offers a prime example of moral experience in Mengzi’s apologue of the “child by the well.” When I see my child about to fall into a well, Mengzi argues that my feelings of compassion are immediately awakened. What I perceive in my emotional intelligence is a sense of urgency and concern that results in the spontaneous and immediate action of grabbing the child. In this archetypal experience, the self emerges as a vital vibration of urgency and agency, witnessing my being-one-body with the child. The infinitely irreducible value of the world possesses a force of self-manifestation and actualizes itself in my all-embracing responsiveness. According to Mou, I become retrospectively aware of my moral mind as a universal, active interconnectedness of all that exists, preceding any separation between subject and object. With respect to the Daoist subject analyzed in Chapter 3, the conception of the performative subject that aims for self-realization is reconfirmed, as is the idea of jingjie. However, Mou’s assertion that the full meaning of the subject is inaugurated by Confucianism reveals that the characteristics of the self (i.e., dynamism and reflexivity) can be fully appreciated only when the moral self comes to the forefront. According to Mou, the merit of orthodox Confucian teaching is to have placed something maximally positive and attainable through human freedom, that is, the moral self and the supreme spiritual level attainable through my effort of self-cultivation. Daoism’s diaphanous subject maintains structural passivity. The jingjie of the Daoist saint, reached through a systematic withdrawal from any purpose or concrete engagement with reality, is a mental landscape in which the self and nothingness, that is, the inchoate origin of the cosmos, merge into one. From this point, the Daoist self can only contemplate the exuberant gushing out of myriad things from the origin, being careful to constantly efface itself to avoid obstacles to the endless metamorphosis of things. In Mou’s moral metaphysics, the moral mind replaces nothingness as a creative inception. The self is required to actively participate, embodying and actualizing the moral principles in minute objective circumstances, without letting anything out of the sphere of concern and responsibility. In addition to dynamism and performativity, reflexivity and self-awareness are the third characteristic of the self. The Daoist diaphanous subject, in attending to the multifarious manifestation of beings, can look back at itself and become aware of the unity between the universe and the transparency of the self, which is the condition for this manifestation. However, because of the necessity of avoiding attachment to the self and constantly restoring the transparency of the mind, it is nothing more than an ephemeral gleam. In contrast, Mou’s moral self, in performing ethical deeds, realizes and actualizes the principle that it embodies every single thing. The specific circumstances are not given through a visually based detached contemplation but are concretely actualized in their value and meaning through active participation and concern. In “bringing things to realization without any of them being lost” (ti wu er bu ke yi 體物而不可遺), the “mind of benevolence” concretizes the moral principle by penetrating into the infinite particularity of situations. Through my moral activity, I come to realize myself as one with the moral mind, which is the highest spiritual state. Here, I operate at the ontological level that Mou identifies with the Confucian idea of inherent nature (xing 性). Nature is brought to perfect manifestation through creative efforts to reach the spiritual state of the moral mind. Nature is not a static substance but a living principle that possesses the ability to self-actualize. Mou valorizes the idea, stemming from the very beginning of Chinese thought—the Yijing (Classic of Change)—that reality is a living, dynamic flux of transformation and an interacting web of mutual responsiveness. As Mou declared in Critique of the Cognitive Mind, reality in itself is holistic, interconnected, and pervaded with meaning. However, in the absence of a manifesting mind, this organic order of things, which is their principle and value-in-itself, remains only a latent ontological property. Only in self-perfected human beings are the mind and nature, manifestation and content, inseparable. The manifestation proper to the moral mind is not merely a symbolic expression, but is the concretization of the moral principle into the infinite particularity of situations. The distinctive power of my human self is the ability to embody the moral principle of my specific nature so that the principle of my action is not outside me but comes from the heart of my being. In this way, I acquire autonomy and freedom and am able to preserve and nurture them by extending the horizon of moral care to the entire universe. Saying that “All things are already complete in me,” Mengzi endows the finite human mind with an infinite capacity for moral extension and elevation. Building on the Confucian teaching of ren and Mengzi’s theory of mind and nature, the Song-Ming era of Neo-Confucianism gradually brought to fruition the unification of the metaphysical plane of moral practice and the creative energy of the universe. Realizing my moral mind, I awaken myself to be one with the cosmos. Everything is in me, because by expanding the field of my concern and vigilance to the universe, I do not consider nothing external to myself. The authentic self redefines the idea of interiority as autonomy, that is, the capacity to embody the principle of being and acting and having nothing outside that can dictate or obstruct actions. Though posing moral practice as the culminating point of human endeavor, Mou recognizes the necessity and value of any epistemological effort, particularly scientific knowledge. The reason lies just in the fact that moral activity is spontaneously actualizing in the specificity of phenomena and circumstances. If even the smallest thing must not be forgotten or left out of the sphere of meaning, then cognitive activities are embedded in the circular movement of the moral mind. Facts and events that occur in the performative field have an objective aspect at their core. When moral action encounters difficulty in its scrupulous accomplishment, the mind should stop and analyze this obstacle as a thing contraposed to a knowing subject. The final aim is to restore the ever-flowing circular dynamism of the absolute mind. Eliminating any obstruction through apprehension of the objective thing is subordinated to the unavoidable task of the self. This temporary arrest and entrenchment in the horizontal multiplicity of things is called by Mou ziwo kanxian 自我坎陷that is, self-limitation of the moral self.

Abstract As 4.5 billion of the world's population do not have safe sanitation, access to water and sanitation is one of the Sustainable Development Goals (SDG 6) in the 2030 Agenda. This research aims to investigate the relationship between sanitary conditions and tourism, based on ecological sanitation action research developed with the local community of Praia do Sono (Paraty, Brazil), a community gateway that integrates two protected areas: the State Ecological Reserve of Juatinga and Cairuçu Environmental Protection Area. Using a qualitative approach, specifically participant observation, during one ecological sanitation project, and semi-structured interviews with nine stakeholders, the results revealed that territorial conflicts, protected area (PA) preservationist policies and the consolidation of mass tourism has limited cultural subsistence practices and the sense of collective in the community. The water sanitation project has produced more belonging and identity in the community through the recognition of the health benefits and improved quality of life for residents.

On the corner of my office laptop perches a small shrubbery made from extruded plastic: LEGO greenery, fashioned into a wedge of landscape to obscure the tiny LEGOTARDIS resting over the power button. My young son has been here. He clearly meant for his ersatz foliage to cover up the time machine, but it actually calls attention to it. It signals that something must be hiding there, something we are meant to find. “Look, look!” say the bushes, “but pretend you aren’t looking.” Real flora can function similarly, as when leaves in a bouquet direct our eyes away from unsightly stems and toward colorful blooms. But curious pedestrians also peer through hedges at the houses behind them. Does a bush conceal, then, or only pretend to conceal? Is a bush an actant or an alibi, like the pasties on Barthes’ strip-pers, the conceit of privacy serving only to heighten the eroticism of the hidden?1 Perhaps we can’t even speak of “a bush” but rather “bushes.” Bushes are messy, insistently plural; yet they can be tended and tamed into the very embodiments of b / order, separation, and singularity. Shake-spea re’s Venus and Adonis bears witness to the multivalence of bushes, suggesting that they contain all of these possibilities — and more — within their interlace.

Abstract This interdisciplinary chapter focuses on the digital translanguaging practices of Qatar-based people’s construction of H.H. Sheikh Tamim bin Hamad Al Thani, the current Emir of Qatar, as a hero during the blockade that was imposed on the country in June 2017 and lasted until January 2021. A translingual and multimodal corpus comprising tweets and songs composed and performed by the super-diverse population of Qatar during the first year of the blockade is analyzed in the context of resemiotization, and in an appraisal framework with a focus on attitude, namely the ways whereby feelings are seen as a system of meanings. The findings suggest that Sheikh Tamim is constructed as a political and moral hero (Allison, Goethals & Kramer 2016: 5) via a bottom up translanguaged praise of his agency and communal focus evident in his political and diplomatic actions. This praise is realized via emotional stance (affect), which translates into the expression of positive feelings pertinent to his personality, such as love, appreciation, gratitude, and ethics (judgment). The latter is related to attitudes toward Sheikh Tamim’s behavior during the blockade (admiration and praise). At the same time, the role of language ecology including translanguaging in the superdiverse (Vertovec 2007) context of Qatar is examined in the construction of the discourse of Sheikh Tamim’s heroism. More specifically, it is argued that, while English is used referentially, in order to refer to Sheikh Tamim’s achievements and character, languages like Standard Arabic, and Arabic dialects, are used in a more personalized way to either address him directly or to represent his thoughts in the form of direct speech. In this sense, the chapter suggests a new take on translanguaged ecologies through their association with attitudes.

Abstract This chapter examines the richly varied representation of the harp within Thomas Moore’s drawing-room songs, the Irish Melodies, focusing, in particular, on the instrument’s increasing politicization throughout the cycle. Moore was one of the most famous Irishmen of his day and through his celebrated cycle of songs, he propagated the harp music of Ireland to a new and much larger audience and increased interest in the ancient art of harping as well as adding to the instrument’s already-established symbolic significance. By the time of Moore, the harp had become deeply politicized through the symbolism of political groups such as the Volunteers and the United Irishmen; both movements recognized music in general, and the harp in particular, as important conduits for their ideology. The impact of these groups is examined along with the contribution of figures such as the philosopher Jean-Jacques Rousseau and the writer and harpist Sydney Owenson. By elevating the harp to the status of a living entity, Moore imbued it with eloquence, potency, and magical qualities, thereby setting it apart from other cultural tropes. The harp embodies Ireland itself, acting as a touchstone for tradition at a pivotal point in history when the ancient art of harping was dying out. Moore continuously celebrates this extraordinary legacy by linking harps, harpers, and harp music in a chronicle of extinction and rebirth. Thus, his songs are multi-layered and complex in their recognition of the harp’s rich symbolism—musical, cultural, and political.

This chapter traces the decentralization of prestige associated with the state-commissioned pharmacopeia up until the end of the sixteenth century. It argues that the decentralization of authority had already been well under way since the eleventh century, when the Northern Song court did commission multiple bencao pharmacopeias. Proceeding chronologically, three trends stand out in this examination of bencao as a field of inquiry. First, the Song state could not exert much control over these elaborate texts in transmission. A variety of authors, acting independently of the imperial court, made changes to the official edition and promoted their work through the manuscript or the newly available technology of printing. Second, major medical innovations during the Jin-Yuan period inspired physicians to explain pharmacological action in cosmic, systematic terms. Lastly, regional official publishing—a hallmark of Ming book culture—made the elaborate Song pharmacopeia widely available in print from the mid-fifteenth century. As a result, an unprecedented number of texts emerged that attempted to integrate cosmic pharmacology with the pharmacopeia, creating new discourses and textual genres.

Chapter 6 examines acting in model jingju from three perspectives: how it is related to the role-types, schools of performance, and the old form (song, speech, dance-acting, and combat) of traditional jingju. By examining the fusion of selectively adapted traditional practices and newly invented performance styles and techniques, this chapter offers an insight into how performance practices in model jingju are intricately related to traditional jingju, though their associations as seen through these three perspectives unfold in different ways. The author discerns an overall pattern of creation: the deconstruction of traditional practices and the liberty to select appropriate traditional elements and fuse them with new ones, be they borrowed from other performing arts or newly created. In some cases, to deconstruct means to destroy, and to break down leads to abandonment. In other cases, to break down leads to breakthrough; the deconstruction nurtures innovative and alternative practices that embody unique aesthetic qualities of model jingju. This chapter features personal interviews with the performers of principal heroes/heroines and other major roles.

Abstract This chapter asks how sign language music creates musical meaning for its performers and audiences, acting as a site of affective engagement. In order to show how sign language music creates specifically musical meaning for its perceivers, the chapter draws on fundamental parameters of sign language music: aspects of vocal production; pulse, rhythm, and meter; and aspects of melody. It reveals how music and language interact to create musical meaning, and how signing musicians structure their performances formally. Finally, the chapter uses two case studies, Rosa Lee Timm’s “River Song” and Jesse Jones III’s “One World, Two Hands,” to reveal how each song conveys meaning through simulations of dynamic processes, out of which emerges musical structure.

Scottish theatre, from the mid-eighteenth century onwards, has been characterised by a distinctive performance culture that values anti-illusionist techniques, breaking the fourth wall, music and song, strongly physical acting styles and striking visual effects. These were accepted traits of the Georgian theatre as a whole; however, they endured in Scotland through the music hall and pantomime traditions, when late nineteenth-century Western theatre was focused on realism/naturalism. Their importance to the search for a distinctive Scottish Gothic Drama lies in the way that the conditions of the Scottish theatre during the Gothic Revival valued these skills and effects. That theatre was heavily constricted in what it could play by censorship from London and writers were cautious in their approach to ‘national’ topics. At the same time a good deal of work portraying Scotland as an inherently Gothic setting was imported onto Scottish stages.

Abstract This chapter examines the ways in which composer Jim Dooley’s music for the video games Epic Mickey and Epic Mickey 2: The Power of Two reflect and comment on the Disney ethos, considering Disneyland and Disney films overall. Discussion of Epic Mickey focuses on Mickey Mouse’s journey through Wasteland—basically, a dystopian version of Disneyland—and how the music plays a part in suggesting video-game designer Warren Spector’s relatively complex view of Disneyland and the Walt Disney Company. With the addition of voice acting beyond the narrator in Epic Mickey 2, the focus switches to the use of song in the game and its connection to the Broadway-style musical used in many of Disney’s animated features. The author suggests that the villain sings because he wants to convince others (and possibly himself) that he wants to be a good Disney cartoon character, and in his mind, they sing Broadway-style melodies.

Migratory seabirds are an unseen conduit between marine and terrestrial systems, carrying the nutrients they consume at sea into the forests where they breed. Acting as environmental sentinels, their health and reproductive success provide early warning signals of deteriorating marine eco-systems as the climate changes, and fish stocks decrease. Aotearoa New Zealand is the seabird capital of the world, with ~25% of all species breeding here and ~10% exclusively so. They play a critical role in maintaining healthy ecosystems, with their long-term well-being is closely interconnected with our own prospects for a sustainable future. Now predominantly restricted to off-shore islands due to predation and habitat destruction, seabirds and their familiar sounds have become less available in an age when the unprecedented global movement and planetary spread of the human population has culminated in unsustainable fishing, predators and habitat destruction. Inspiring mythology, song, poetry and stories, birds have been significant in shaping our understanding of how our natural environment has come to be known and understood. This paper speculates upon how we learn to communicate and cooperate with these precious taonga, and what might be learned from such an exchange through creative practice. Reflecting upon what birds might tell us, musician Matthew Bannister and I, a visual artist, have taken our cue from seabirds sharing our local environment on the west coast of Aotearoa - from the petrel (peera) through to the gannet (tākapu). Working on the premise that bird vocalisation is a performed negotiation that includes defence of territory and mate attraction, a bird’s call is a form of communication that effectively says “Come here” or “Go away”, which arguably is true of music – marking a social space and time to invite or repel. Rather than limiting bird calls to functionalist categories of explanation, we ask whether seabirds can communicate and exchange information about environmental changes using a malleable vocabulary, comprised of unique acoustic units arranged and re-arranged sequentially for greater communicative depth. Granting a high level of agency and creativity to birds as opposed to believing a bird only avails itself of stereotyped ‘speech’ to survive an accident-rich environment, places greater importance on responses that are improvised directly upon environmental stimuli as irritant rather than as a signal. Matthew explores bird calls via musique concrète, sampling recordings of seabirds to abstract the musical values of bird song conventions – a human response to the ‘other’ in jointly formed compositions, reflecting a living evolving relationship between composer and bird. In further developing our research into a multimedia artwork, I shall extend a technique used for electroacoustic composition (granular synthesis) to video portraits of composer/performer and bird. In applying granular synthesis techniques to video, tiny units of image and sampled sound are reassembled within the frames. Through the mixing of existing synthesised sequences, performer/composer and bird become active participants in the making and remaking of a shared environment, articulating the limits of space/territory to find new ways to be heard within it.

In recent years, it has been proven feasible to generate rhythm game charts through machine learning models. This has reduced the cost of chart generation and served as an auxiliary tool for novice chart creators. Machine learning generation allows players to experience new songs and charts earlier. However, the article does not provide sufficient discussion on how to generate challenging and high-quality human-like charts for the versatile 4k Mania mode, which uses 4 scrolling 'note highways' to display the notes to be played. The focus of this article is on improving the generation of 4k charts in OSU! Mania through research on machine learning chart generation, with the aim of creating more interesting and accurate charts. Additionally, we propose a more comprehensive and humane standard for evaluating the quality of generated charts. This was informed by interviews with experienced players and chart creators.

La cultura digital es un concepto que se ha permeado en la economía, la sociedad y la cultura. Diversos campos de la vida son hoy apoyados mediante el uso de TIC. El internet impacta la forma de pensar, sentir y actuar diariamente, cada vez que la sociedad está más integrada con tecnologías que hacen más eficientes los sistemas de comunicación y los estilos de vida de las personas, ahora bien, en estos sistemas de comunicación, se integran el uso de lenguajes y símbolos que se utilizan para comunicarnos de manera cotidiana, en este sentido no siempre la sociedad es capaz de asimilar rápidamente todas estas expresiones, e incluso entender parte de los símbolos o figuras que son propias de estas tecnologías, por ejemplo , explicarle a otra persona qué significa cada emoticón del lenguaje digital,o cómo se diferencia cada emoji por el gesto que representa, para qué sirve cada uno de ellos o qué significa cada término empleado para denominar una acción. Al respecto, en la RED CYTED IBERINCU, se han utilizado algunos de estos aplicativos existentes y que de alguna manera hacen de los procesos de comunicación una acción inmediata.--------------------------------------------------------------------------------Digital culture is a concept that has permeated the economy, society and culture. Various fields of life are today supported through the use of ICT. The internet impacts the way of thinking, feeling and acting daily, society is increasingly integrated with technologies that make communication systems and people's lifestyles more efficient, however, in these communication systems, they integrate the use of languages ​​and symbols that are used to communicate on a daily basis, in this sense, society is not always able to quickly assimilate all these expressions, and even understand part of the symbols or figures that are typical of these technologies, for example, explain to another person what each emoticon of the digital language means, or how each emoji differs due to the gesture it represents, what each of them is for or what each term used to describe an action means. In this regard, in the RED CYTED IBERINCU, some of these existing applications have been used and that in some way make communication processes an immediate action.

La cultura digital es un concepto que se ha permeado en la economía, la sociedad y la cultura. Diversos campos de la vida son hoy apoyados mediante el uso de TIC. El internet impacta la forma de pensar, sentir y actuar diariamente, cada vez que la sociedad está más integrada con tecnologías que hacen más eficientes los sistemas de comunicación y los estilos de vida de las personas, ahora bien, en estos sistemas de comunicación, se integran el uso de lenguajes y símbolos que se utilizan para comunicarnos de manera cotidiana, en este sentido no siempre la sociedad es capaz de asimilar rápidamente todas estas expresiones, e incluso entender parte de los símbolos o figuras que son propias de estas tecnologías, por ejemplo , explicarle a otra persona qué significa cada emoticón del lenguaje digital,o cómo se diferencia cada emoji por el gesto que representa, para qué sirve cada uno de ellos o qué significa cada término empleado para denominar una acción. Al respecto, en la RED CYTED IBERINCU, se han utilizado algunos de estos aplicativos existentes y que de alguna manera hacen de los procesos de comunicación una acción inmediata.--------------------------------------------------------------------------------Digital culture is a concept that has permeated the economy, society and culture. Various fields of life are today supported through the use of ICT. The internet impacts the way of thinking, feeling and acting daily, society is increasingly integrated with technologies that make communication systems and people's lifestyles more efficient, however, in these communication systems, they integrate the use of languages ​​and symbols that are used to communicate on a daily basis, in this sense, society is not always able to quickly assimilate all these expressions, and even understand part of the symbols or figures that are typical of these technologies, for example, explain to another person what each emoticon of the digital language means, or how each emoji differs due to the gesture it represents, what each of them is for or what each term used to describe an action means. In this regard, in the RED CYTED IBERINCU, some of these existing applications have been used and that in some way make communication processes an immediate action.

The object of the investigation is the relation between theatrical discourse and traditional cultural expressions. The main objective of the research is to highlight the way traditional art was made use of by directors at different historical stages and the artistic, cognitive, educational meanings and valences of some forms of traditional cultural expressions in the structure of theatrical discourse. Resorting to the comparativehistorical method, through the analyzes of the performances, we demonstrate the polysemanticism of the dramatic action and the variety of artistic functions of the traditional Romanian song, of the nuptial ceremony ”Iertarea miresei” /Forgiveness of the bride”, of the rite of passage “Moşii/Forefathers” in the spectacular universe created by directors in different theaters. These traditional forms promote and affirm identity marks – of the ethnic group and of the creative individuality (playwright, director, set designer, actor), but also the intercultural character of some shows.

The implementation of the Bologna process in Spanish universities, which has been active for a decade as of this academic year, facilitated the implementation of multiple teaching methodologies where numerous Information and Communication Technologies (ICTs) and e-learning tools have had a place. Thus, at this point, an analysis ought to be carried out of the impact that their use may have had on the teaching-learning process for the students. The results from such study will allow selecting the tools that could potentially optimize the results of the aforementioned process. Once the best ones among them have been identified, and taking into account their face-to-face or online nature, it will be posible to make a proposal of which teaching methodologies will lead to the best results in three possible scenarios: face-to-face, online or mixed teaching. While most reaserach in this field focuses on the academic performance as the main output to optimize, measured through the student's qualification, the present work aims at taking the student’s opinion into consideration. Therefore, the perception of the students with regards to some pedagogical tools is assessed in this work. Specifically, two tools have been selected: one face-to-face tool (an Audience Response Tool, H.R.A.) and another e-learning one (a hypermedia container) that, logically, does not require attendance. The data collection required for its posterior analysis was carried out through an ad-hoc questionnaire presented to the students of a degree offered by the University of Valencia,. The first results reflect a better reception to H.R.A., with a higher average score (higher than 8), although e-learning is postulated useful for self-evaluation.

Culinary rituals and their associated spaces are a pretext to propose a line of a collaborative study of end-of-cycle projects that relies on travel as a research tool. In April 2021, a team of European and Latina American women, seven architects, an art historian and an artist, initiated a virtual collaborative symposium with this shared theme, culinary rituals. The pilot experience generated a learning community diverse in its geolocation and approaches, and the builder of web space for architectural practice is still active. The virtual meetings built an innovative space for architectural research practice. This experience took as a case study the kitchen, a traditionally feminine place of action, based on the culinary rituals discovered while travelling. Through the idea of travel, we move from a teaching of the effect to the affective. Los rituales culinarios y sus espacios asociados son un pretexto para plantear una línea de estudio colaborativo de trabajos fin de ciclo que se apoya en el viajar como herramienta de investigación. En abril de 2021 un equipo de mujeres, siete arquitectas, una historiadora del arte y una pintora, residentes en Europa y Latinoamérica, inician un simposio colaborativo virtual con este tema compartido denominado rituales culinarios. La experiencia piloto generó una comunidad de aprendizaje diversa en su geolocalización y enfoques, y constructora de un espacio en la red para la práctica arquitectónica aún activa. Los encuentros virtuales construyeron un espacio innovador para la práctica investigadora arquitectónica. Esta experiencia tomó como caso de estudio la cocina, un lugar de acción tradicionalmente femenino, a partir de los rituales culinarios descubiertos al viajar. A través de la idea del viaje, transitamos de una docencia de lo efectivo a una enseñanza en lo afectivo.

Slobodan and Aleksandar Obradović (father and son) from Bijelo Polje are authors whose fiction abounds in fantastic motifs ‒ characters’ actions, their ability to travel through time zones, their mythological features and the mission they are devoted to accomplish. Capable inventors, fliers, beings who transcendentally move from place to place require critical judgment ‒ whether contemporary children’s literature is truly in accordance with their age and whether and to what extent a child can identify with or distance from the characters. By combining symbols and fiction, both writers encourage readers to decipher the symbols and teach them the lesson of the story. The writers express their thoughts about important life issues through fictional characters, using narrative polyphony, skillfully avoiding identification with any character. Crossing the line between literary and non-literary is typical for both writers. In addition, parents’ role in child upbringing and their influence on the development of child’s imagination should be considered.

Today, there are many pedagogical-psychological and methodological research studies which highlight the importance of music education for the further development of preschool children. The goals of music education in preschool institutions, in addition to envisaging the harmonious development of each child and the engagement of his/her entire personality, greatly contribute to the creation of a basis for later musical education. These goals determine the role of music education, which must be multifunctional and achieved through specific activities in integration with other disciplines. Therefore, the paper presents examples of integrating content of music ed- ucation and initial mathematical concepts. Considering that singing children’s songs is one of the most common forms of work in music education, and that is necessary to prepare children’s singing apparatus at the beginning of each activ- ity, the paper presents breathing exercises as a tool for developing the concept of natural numbers.

This interdisciplinaray work combines expertise in engineering and entomology in Israel and the US, to develop an acoustic trap for mate-seeking female medflies. Medflies are among the world's most economically harmful pests, and monitoring and control efforts cost about $800 million each year in Israel and the US. Efficient traps are vitally important tools for medfly quarantine and pest management activities; they are needed for early detection, for predicting dispersal patterns and for estimating medfly abundance within infested regions. Early detection facilitates rapid response to invasions, in order to contain them. Prediction of dispersal patterns facilitates preemptive action, and estimates of the pests' abundance lead to quantification of medfly infestations and control efforts. Although olfactory attractants and traps exist for capturing male and mated female medflies, there are still no satisfactorily efficient means to attract and trap virgin and remating females (a significant and dangerous segment of the population). We proposed to explore the largely ignored mechanism of female attraction to male song that the flies use in courtship. The potential of such an approach is indicated by studies under this project. Our research involved the identification, isolation, and augmentation of the most attractive components of male medfly songs and the use of these components in the design and testing of traps incorporating acoustic lures. The project combined expertise in acoustic engineering and instrumentation, fruit fly behavior, and integrated pest management. The BARD support was provided for 1 year to enable proof-of-concept studies, aimed to determine: 1) whether mate-seeking female medflies are attracted to male songs; and 2) over what distance such attraction works. Male medfly calling song was recorded during courtship. Multiple acoustic components of male song were examined and tested for synergism with substrate vibrations produced by various surfaces, plates and loudspeakers, with natural and artificial sound playbacks. A speaker-funnel system was developed that focused the playback signal to reproduce as closely as possible the near-field spatial characteristics of the sounds produced by individual males. In initial studies, the system was tasted by observing the behavior of females while the speaker system played songs at various intensities. Through morning and early afternoon periods of peak sexual activity, virgin female medflies landed on a sheet of filter paper at the funnel outlet and stayed longer during broadcasting than during the silent part of the cycle. In later studies, females were captured on sticky paper at the funnel outlet. The mean capture rates were 67 and 44%, respectively, during sound emission and silent control periods. The findings confirmed that female trapping was improved if a male calling song was played. The second stage of the research focused on estimating the trapping range. Initial results indicated that the range possibly extended to 70 cm, but additional, verification tests remain to be conducted. Further studies are planned also to consider effects of combining acoustic and pheromonal cues.